Joint Employer’’ Standard and Business Ownership
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Journal of Ethnic and Cultural Studies Copyright 2020 2020, Vol. 7, No. 3, 142-162 ISSN: 2149-1291 http://dx.doi.org/10.29333/ejecs/392 Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000 Jennifer Kim1 Independent Scholar, USA Abstract: Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluation. Since this paper adopts Hegel’s understanding of comedy as the spirit (Geist) made material, its very constitution, and thus its power, resides in exposing the internal thought processes often left unexamined, bringing them into the foreground, dissecting them, and exposing them for ridicule and transformation. In essence, the work of comedy is to consider all points of human processing and related structuration as fair game. The phenomenological nature of comedy calls for a micro-level examination. Select examples from The Smothers Brothers Comedy Hour (1968), The Richard Pryor Show (1977), Saturday Night Live (1990), and Chappelle’s Show (2003) will demonstrate representative ways that comedy attacks and transforms racial hegemony. Keywords: comedy, cultural sociology, popular culture, race and racism, resistance. During periods of social unrest, what micro-level actions are available to the public? Or, how does a particular society respond to inequities that are widely shared and agreed upon as intolerable aspects of a society? One popular method to challenge a hegemonic structure, and to survive it, is comedy. -
Politics of Parody
Bryant University Bryant Digital Repository English and Cultural Studies Faculty English and Cultural Studies Journal Articles Publications and Research Winter 2012 Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Bryant University Ethan Thompson Texas A & M University - Corpus Christi, [email protected] Follow this and additional works at: https://digitalcommons.bryant.edu/eng_jou Part of the Other Arts and Humanities Commons, Other Film and Media Studies Commons, and the Television Commons Recommended Citation Day, Amber and Thompson, Ethan, "Live From New York, It's the Fake News! Saturday Night Live and the (Non)Politics of Parody" (2012). English and Cultural Studies Journal Articles. Paper 44. https://digitalcommons.bryant.edu/eng_jou/44 This Article is brought to you for free and open access by the English and Cultural Studies Faculty Publications and Research at Bryant Digital Repository. It has been accepted for inclusion in English and Cultural Studies Journal Articles by an authorized administrator of Bryant Digital Repository. For more information, please contact [email protected]. 1 Live from New York, It’s the Fake News! Saturday Night Live and the (Non)Politics of Parody Amber Day Assistant Professor English and Cultural Studies Bryant University 401-952-3933 [email protected] Ethan Thompson Associate Professor Department of Communication Texas A&M University - Corpus Christi 361-876-5200 [email protected] 2 Abstract Though Saturday Night Live’s “Weekend Update” has become one of the most iconic of fake news programs, it is remarkably unfocused on either satiric critique or parody of particular news conventions. -
The Joke Critical Race Theory: De Gustibus Disputandum Est?
Touro Law Review Volume 15 Number 1 Article 4 1998 The Joke Critical Race Theory: De Gustibus Disputandum Est? Dan Subotnik [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/lawreview Part of the Civil Law Commons Recommended Citation Subotnik, Dan (1998) "The Joke Critical Race Theory: De Gustibus Disputandum Est?," Touro Law Review: Vol. 15 : No. 1 , Article 4. Available at: https://digitalcommons.tourolaw.edu/lawreview/vol15/iss1/4 This Article is brought to you for free and open access by Digital Commons @ Touro Law Center. It has been accepted for inclusion in Touro Law Review by an authorized editor of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. TIHE JOKE IN CRITICALSubotnik: RACE Joke THEORY: DE GUSTIBUS DISPUTANDUM EST?. Dan Subotnik* If ive laugh at each other we won't kill each other. Ralph Ellison' Deep down in the jungle so they say There's a signifying monkey down the way There hadn't been no disturbin' in the jungle for quite a bit, For up jumped the monkey in the tree one day and laughed, "Iguess I'll start some shit." Old African American toasr The central tenet of critical race theory - that American institutions and cultural practices not only reflect, but also maintain and create, power differentials between white men on the one hand and the powerless on the other 3 - offers unexpected benefits. Here's one. Since ethnicity and gender issues lurk * Dan Subomik is a professor of law at Touro Law Center. The author wishes to specially thank Al Kleinhaus, Ken Rosenblum, Jerry Giannattasio, Rena Seplowitz, Hon. -
Israeli Journal for Humor Research, December 2017, Vol. 6 Issue No. 2 5
Israeli Journal for Humor Research, August 2018, Vol. 7 Issue No. 1 4 Guest Editor’s Introduction Steven Gimbel* As Humor Studies writ large has continued to develop and blossom into a recognized and respected interdisciplinary field over the last two decades, so too the subfield Philosophy of Humor has gained a foothold of respectability in its disciplinary milieu. Professional organizations such as the International Association for the Philosophy of Humor and the Lighthearted Philosophers’ Society hold annual meetings, attracting both senior philosophers from more established corners of philosophic discourse who have begun to work on humor-related questions as well as younger scholars, junior faculty members, and graduate students who see philosophy of humor as their area of specialization. It is from this position of growth that a conference was organized at Bucknell University in Lewisburg, Pennsylvania from April 5th through 8th by Professor Sheila Linttot focusing on the ethics and aesthetics of stand-up comedy. Attracting some of the most well-known scholars in the field as well as earlier career researchers, the conference was unique in moving away from general discussions of humorous utterances in standard conversational contexts and instead sought to examine the philosophical ramifications of a specific aesthetic context, stand-up comedy. Drawing thinkers from North America, Europe, Southeast Asia, and Australia, topics of talks and panels ranged over linguistic, epistemological, ethical, aesthetic, social-political, and ontological themes. Ever aware that stand-up comedy a practice, the philosophical work was interspersed with active participation in the art form. Two top name comedians, Paula Poundstone and Hari Kondobolu, performed on separate nights in front of large audiences sprinkled with philosophers. -
Livecarlin 3.24Transcriptqueries 1 a TRIBUTE to GEORGE CARLIN
A TRIBUTE TO GEORGE CARLIN HOSTED BY WHOOPI GOLDBERG March 24, 2010 LIVE from the New York Public Library www.nypl.org/live Celeste Bartos Forum GEORGE CARLIN: To get around a lot of this, I decided to worship the sun, but as I said, I don’t pray to the sun. You know who I pray to? Joe Pesci. (laughter/applause) Joe Pesci. Joe Pesci. Two reasons. First of all, I think he’s a good actor, okay? To me that counts. Second, he looks like a guy who can get things done. (laughter/applause) Joe Pesci doesn’t fuck around. (laughter/applause) Doesn’t fuck around. In fact—in fact, Joe Pesci came through on a couple of things that God was having trouble with. For years I asked God to do something about my noisy neighbor with the barking dog. Joe Pesci straightened that cocksucker out with one visit. (laughter/applause) LIVECarlin_3.24TranscriptQUERIES 1 There is no God. None. Not one. No God, never was. In fact, I’m going to put it this way. If there is a God, if there is a God, may he strike this audience dead. (laughter/applause) See, nothing happened. Nothing happened, everybody’s okay. Tell you what. Tell you what. I’ll raise the stakes, I’ll raise the stakes a little bit. If there is a God, may he strike me dead. See, nothing happened. Wait. I’ve got a little cramp in my leg (laughter) and my balls hurt (laughter), plus, I’m blind. Now I’m okay again. -
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. -
Of Coase and Comics, Or, the Comedy of Copyright
University of Pittsburgh School of Law Scholarship@PITT LAW Articles Faculty Publications 2009 Of Coase and Comics, or, The Comedy of Copyright Michael J. Madison University of Pittsburgh School of Law, [email protected] Follow this and additional works at: https://scholarship.law.pitt.edu/fac_articles Part of the Intellectual Property Law Commons, Internet Law Commons, Law and Economics Commons, Law and Society Commons, Political Economy Commons, Property Law and Real Estate Commons, Rule of Law Commons, Science and Technology Studies Commons, Social and Cultural Anthropology Commons, and the Theory, Knowledge and Science Commons Recommended Citation Michael J. Madison, Of Coase and Comics, or, The Comedy of Copyright, 95 Virginia Law Review In Brief 27 (2009). Available at: https://scholarship.law.pitt.edu/fac_articles/357 This Article is brought to you for free and open access by the Faculty Publications at Scholarship@PITT LAW. It has been accepted for inclusion in Articles by an authorized administrator of Scholarship@PITT LAW. For more information, please contact [email protected], [email protected]. VIRGINIA LAW REVIEW IN BRIEF VOLUME 95 APRIL 30, 2009 PAGES 27- 42 RESPONSE OF COASE AND COMICS, OR, THE COMEDY OF COPYRIGHT Michael J. Madison∗ INTRODUCTION RDER Without Law, Robert Ellickson’s seminal account of social O norms among Shasta County cattle ranchers,1 grew out of earlier research titled, in part, Of Coase and Cattle.2 The shift in the title was subtle, but significant. Ellickson started out to test Ronald Coase’s celebrated parable of the Rancher and the Farmer, the hypothetical that Coase used to develop the Coase Theorem,3 a major pillar of law and economics scholarship. -
Love Is Strange. 04
Love is strange. 04 14. BILL HADER 18. GUEST STAR SIMON RICH 14. EXECUTIVE PRODUCER | CREATOR MICHAEL HOGAN GUEST STAR 19. 14. LORNE MICHAELS VANESSA BAYER EXECUTIVE PRODUCER GUEST STAR 20. 07 14. ANDREW SINGER MINKA KELLY EXECUTIVE PRODUCER GUEST STAR 20. 15. JONATHAN KRISEL FRED ARMISEN EXECUTIVE PRODUCER GUEST STAR | DIRECTOR 15. 21. RAEANNA GUITARD IAN MAXTONE - GRAHAM GUEST STAR CO - EXECUTIVE PRODUCER | WRITER 08 15. OKSANA BAIUL 21. GUEST STAR ROBERT PADNICK CO - PRODUCER 15. | WRITER MATT LUCAS GUEST STAR 22. DAN MIRK STAFF WRITER 22. SOFIA ALVAREZ 11 STAFF WRITER 22. BEN BERMAN DIRECTOR 23. TIM KIRKBY DIRECTOR 23. HARTLEY GORENSTEIN 12 LINE PRODUCER A SWEET AND SURREAL LOOK AT THE (Unforgettable) as “Liz,” Josh’s intimidating older life-and-death stakes of dating, Man Seeking sister; and Maya Erskine (Betas) as “Maggie,” Woman follows naïve twenty-something “Josh the ex-girlfriend Josh can never quite forget. Greenberg” (Jay Baruchel, How to Train Your Man Seeking Woman is based on Simon Rich’s Dragon) on his unrelenting quest for love. Josh book of short stories, The Last Girlfriend on soldiers through one-night stands, painful break- Earth. Rich created the 10-episode scripted ups, a blind date with a troll, time travel, sex comedy and also serves as Executive Producer/ aliens, many deaths and a Japanese penis Showrunner. Jonathan Krisel, Andrew Singer monster named “Tanaka” on his fantastical and Lorne Michaels, and Broadway Video also journey to find love. serve as Executive Producers. Man Seeking Starring alongside Baruchel are Eric Andre Woman is produced by FX Productions. -
Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller
Reviewed by Ken Feil Camp TV: Trans Gender Queer Sitcom History by Quinlan Miller. Duke University Press. 2019. 232 pages. $99.95 hardcover; $25.95 paper; also available in e-book. In Camp TV: Trans Gender Queer Sitcom History, Quinlan Miller presents a revelatory historical reassessment of the US network sitcom of the 1950s and 1960s in addition to rethinking camp, an ironic performance and reception sensibility usually associated with white, gay male culture. Arguing that non- binary gender is a constitutive element of both camp and situation comedy formulas, Miller disputes the assumptions of both television history and camp studies with meticulous research spanning institutional procedures, social- historical context, and textual features. The subject of camp remains marginal in television studies, as W. D. Phillips and Isabel Pinedo recently observed, despite holding a pivotal position in television history.1 Genealogies of cult TV, furthermore, have rendered camp either invisible or hovering in the fringes.2 Miller confirms the centrality of camp to television aesthetics at the same time as they challenge the typical historical narrative of camp TV, which begins in the 1960s with the iconic network series Batman (ABC, 1966– 1968) and the burgeoning mainstream currency of “camp” sensibility generated by 1 W. D. Phillips and Isabel Pinedo, “Gilligan and Captain Kirk Have More in Common Than You Think: 1960s Camp TV as an Alternative Genealogy for Cult TV,” Journal of Popular Television 6, no. 1 (2018): 23– 27, https://doi.org/10.1386/jptv.6.1.19_1. 2 Phillips and Pinedo, “Gilligan and Captain Kirk,” 21– 23; Philippe Le Guern, “Toward a Constructivist Approach to Media Cults,” in Cult Television, ed. -
The Paley Center for Media Announces a Salute to Black Achievements in Television Presented by Citi
THE PALEY CENTER FOR MEDIA ANNOUNCES A SALUTE TO BLACK ACHIEVEMENTS IN TELEVISION PRESENTED BY CITI Special Spotlight on Comedy and BET Network’s 40th Anniversary Monthlong Celebration Includes Exhibit Featuring Rare Artifacts from Classic and Current Series Including the Iconic Gumby Costume Worn by Eddie Murphy from Saturday Night Live; Trevor Noah’s “Racism Detective” Wardrobe; Tracy Jordan’s EGOT Necklace from 30 Rock; Costumes Worn by Jamie Foxx, Wanda Sykes, and Kerry Washington in ABC’s Live in Front of a Studio Audience: Norman Lear’s All in the Family and The Jeffersons; the Couch from The Jeffersons; Costumes Worn by Tiffany Haddish, Viola Davis, Andre Braugher and Jay Pharoah in ABC’s Live in Front of a Studio Audience: All in the Family and Good Times and Much More. PaleyLive Program with Lena Waithe and Featuring the Exclusive Season Premieres of BET’s Boomerang and Twenties Screenings Featuring Some of the Most Influential and Legendary Artists in Entertainment Including Tyler Perry, Regina King, Tiffany Haddish, Wanda Sykes, Queen Latifah, Chris Rock, Will Smith, Kevin Hart, Eddie Murphy, Dave Chappelle, Flip Wilson, Keenan Ivory Wayans, and More Exhibit and Screenings are Free and Open to the Public Citi Returns as Presenting Sponsor January 15, 2020 – New York, NY – The Paley Center for Media will present A Salute to Black Achievements in Television Presented by Citi from February 1-March 1. This monthlong celebration will include an interactive exhibit focusing on comedy, spotlight BET Network’s 40th anniversary, as well as family activities, education classes, and screenings featuring some of the most influential names in entertainment. -
Laugh Fa C Tory
The Kings of Ktown is a stand up comedy special featuring Danny Cho, Walter Hong and Paul “PK” Kim. Kings of Ktown Each comedian will deliver their views on culture, race, family and OVERVIEW livin’ like a King in Koreatown in front of a live audience on July 2nd at the World Famous Laugh Factory in Hollywood. The live show will be filmed as a 1 hour special and will feature them performing stand up comedy as well as behind the scenes footage of the comics backstage, partying in Ktown and promoting the special. WWW.KINGSOFKTOWN.COM 2015 ALL RIGHTS RESERVED - CONFIDENTIAL DOCUMENT OVERVIEW Kings of Ktown stand Up Comedy show + 1 Hour special DVD film taping WHEN Thursday July 2nd, 2015 Showtime: 10 PM WHERE World Famous Laugh Factory 8001 Sunset Blvd Hollywood, CA ATTENDANCE Hosted by: Dumbfoundead Expected attendance: 300 (Limited invitations to: celebrity guests, tastemakers, industry folks, guestlist, & sponsors) WWW.KINGSOFKTOWN.COM 2015 ALL RIGHTS RESERVED - CONFIDENTIAL DOCUMENT AUDienCe AUDIENCE According to 2010 Census, approximately 1.7 million people of Korean descent reside in the U.S., making it the country with the second largest Korean population living outside Korea Asian Americans have $718 Billion in buying power Over 19 Million in the APA Community living in the U.S. Asian Americans are digital pioneers and the leading segment of online shoppers. APA have the highest mobile internet usage on social networks. WWW.KINGSOFKTOWN.COM 2015 ALL RIGHTS RESERVED - CONFIDENTIAL DOCUMENT EMOGRAPHIC D tArget DemogrApHiC - Korean & Asian Pacific -American Community - Tastemakers heavily influenced by social media - Males & Females - 18-35 age segment - Young, tech savvy, that own a smartphone, purchase products online, and are connected to the internet - Have a Bachelor’s degree - Average salary $60K per year WWW.KINGSOFKTOWN.COM 2015 ALL RIGHTS RESERVED - CONFIDENTIAL DOCUMENT AST Danny Cho C Danny Cho is an Asian American comedian/actor. -
Cheech and Chong -- Colorado Springs -- 1972
CHEECH AND CHONG -- COLORADO SPRINGS -- 1972 It’s past cliché that concerts were a different thing in the sixties (a period of American history that took place between 1965 and 1975, more or less) than they are now. And not just the prices and impact. It’s like a church that got defrocked and petered off the rock. We’re left with icons, with a Last Supper painting of those who died before we got tired of them, with second-hand memories and rumors. But who was the major icon of that era? Who put the stamp on the times, survives them to continue as they were and will be? Not Hendrix or the Zep or Credence or even the Floyd. Or any of the litany of those who succumbed at 29 years of age to Rock Star Disease. In fact, it’s not always the musicians who stamp the times in their image. Who remembers bands of the time as much as they remember Hope and Crosby on the Road? You still see FaceBook memes of George Carlin; Lenny Bruce types the beat proto-hip era more than any music of that day. And the Sixties were uniquely summed up by the careers of a couple of kultur klatch comics called Cheech and Chong. They were uniquely of those times, and did a lot to make them as they were. They weren’t guitarists or singers—they were Dopers. And still are. And they’re still Cheech and Chong. Can Led Zeppelin say that? Can Eric Clapton? Does going to a concert by Zep or Floyd or Stones bring it all back? Not really.