DOCSLIB.ORG

Homey D. Clown - the in Living Color Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Homey D. Clown - the in Living Color Guide Homey D. Clown - The In Living Color Guide Sign in + The In Living Color Guide Contribute On the Wiki Popular pages Community Wiki Activity Random page Videos Photos Homey D. Clown PAGES ON 93 THIS WIKI Edit Talk 0 "I don't think so ... Homey don't play that!" Herman Simpson, better known semi-professionally as Homey D. Clown, is a convict with a never-ending community service sentence. Homey is often seen entertaining a group of excited children, who all remain his biggest fans even though he beats them on the head using a sock with a tennis ball inside. Homey has a questionable criminal history which has caused severe emotional problems, specifically a lifelong grudge towards The Man. This side of him comes out whenever he leads the children in a sing-along. Much of the credit for the character goes to Paul Mooney, who Performer: was known to react "Aw no, homey!" whenever a writer Damon Wayans pitched a sketch idea that might sound too racist. Damon became inspired, wondering "What if Paul were a clown?" -- and the rest is history. Appearances (list in progress) Edit Entertainment Video Games Lifestyle http://inlivingcolor.wikia.com/wiki/Homey_D._Clown[7/20/2015 3:48:08 PM] Homey D. Clown - The In Living Color Guide Picture Title/Episode Description Cast At a birthday party, Homey does a trick with a dollar bill, and shows a clown-toon picture sequence of himself at Chez Whitey getting harassed by The Man. Mother - Girl (Crystal): Kim Coles Birthday Why'd you Kids - Kelly, Party become a clown David, Episode 109 then? Tommy, Homey: I guess Crystal it's because I got so much love to give. And it's part of my prison work release program. Kid 1 - David Kid 2 - Homey refuses to be dunked Crystal Homey's in water, but he will make Dad - extra One-Stop balloon animals (and pop Cowboy - Carnival them), spin you around in the Jim Episode 113 Whirl-Twirl, and put on a puppet show. Cowboy's wife - extra Whirl-Twirl guy - extra Stockbroker - extra Sally - When Homey has a relationship with Crystal Homey Met his parole officer. Can she Carnival Sally change him? "I don't think so!" barker - Episode 202, He uses eggs, milk and flour extra Episode 226 to show the kids what love is. Kids - Tommy, http://inlivingcolor.wikia.com/wiki/Homey_D._Clown[7/20/2015 3:48:08 PM] Homey D. Clown - The In Living Color Guide Kelly, David Homey fills in for Santa at the mall, giving the kids a different kind of Christmas cheer. Kid (David): HI, Kids - Jim, Homey HOMEY! Kelly, Claus Homey: [Damon Tommy, Episode 212 ad-libs] You David scream in my ear again, big kid, it's gon' be me and you. At a birthday party, Homey Kids - Kelly, converts a group of David, Home E. Woodpecker Scouts to an Tommy, Cheese army of "Home E. Cheese Crystal Episode 214 Whiz Kids" who revolt against Scoutmaster their scoutmaster. - Jim It all starts at the Summer Arts Festival Day in the park. Homey is doing a drawing of some kids, when two spokesmen for The Man approach him and offer him a multi-million dollar endorsement deal. Homey signs, begins starring in commercials for Homey- Wheats Cereal, and soon becomes a rich celebrity. Mime - Jim? Homey: So Juggler - remember, little extra childrens, do Kids - what The Man Crystal, says: go out and David, buy yourself a Tommy Homey the box of new Executives - http://inlivingcolor.wikia.com/wiki/Homey_D._Clown[7/20/2015 3:48:08 PM] Homey D. Clown - The In Living Color Guide Sellout - Part Homey-Wheats, extras 1 the only cereal Kids in Episode 224 made from commercial cookies, - extras marshmallows, Julio, valet - sugar cubes, and extra other nutritional Homey's pieces of candy. biggest fan - Now this is a Tommy cereal Homey can play! One night at Chez Whitey, Homey is about to enter and hobnob with his new snob friends, when his biggest fan tries to bring Homey to his senses. Has Homey lost his way? To be continued … Kids - David, Tommy, Homey the At Chez Whitey, Homey finally Kelly, Sellout - Part sells out and gets to meet Crystal 2 The Man … just so he can Chez Episode 301 bop his big white head. Whitey guests - extras The Man - ? Categories: Characters Sketches Add category http://inlivingcolor.wikia.com/wiki/Homey_D._Clown[7/20/2015 3:48:08 PM] Homey D. Clown - The In Living Color Guide Recent Wiki Activity See mor Oswald Bates edited by A Wikia contributor Around Wikia's network Random Wiki Episode 304 edited by MuppetVJ Episode 305 edited by MuppetVJ Episode 303 edited by MuppetVJ About Help Community Central Careers Advertise API Contact Wikia Terms of Use Privacy Policy Sitemap Content is available under CC-BY-SA. http://inlivingcolor.wikia.com/wiki/Homey_D._Clown[7/20/2015 3:48:08 PM].
Load more

Recommended publications
  • A Broken Bargain: Full Report
    A BROKEN BARGAIN Discrimination, Fewer Bene!ts and More Taxes for LGBT Workers Full Report June 2013 National Center for TRANSGENDER EQUALITY With a foreword by Authors Partners This report was authored by: This report was developed in partnership with: 2 Movement Advancement Project Freedom to Work The Movement Advancement Project (MAP) is an Freedom to Work is a national organization dedicated independent think tank that provides rigorous research, to the notion that all Americans deserve the freedom insight and analysis that help speed equality for LGBT to build a successful career without fear of harassment people. MAP works collaboratively with LGBT organizations, or discrimination because of their sexual orientation advocates and funders, providing information, analysis and or gender identity. For more information, visit resources that help coordinate and strengthen their e!orts www.freedomtowork.org. for maximum impact. MAP also conducts policy research to inform the public and policymakers about the legal and National Partnership for Women & Families policy needs of LGBT people and their families. For more The National Partnership for Women & Families works to information, visit www.lgbtmap.org. promote fairness in the workplace, reproductive health and rights, access to quality a!ordable health care, Center for American Progress and policies that help women and men meet the dual The Center for American Progress (CAP) is a think tank demands of work and family. For more information, visit dedicated to improving the lives of Americans through www.nationalpartnership.org. ideas and action. CAP combines bold policy ideas with a modern communications platform to help shape the National Center for Transgender Equality national debate.
    [Show full text]
  • An Analysis of Hegemonic Social Structures in "Friends"
    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
    [Show full text]
  • Photoshop Elements 3 Down & Dirty Tricks
    ® Scott Kelby PHOTOSHOP ® ELEMENTS 3 DOWN & DIRTY TRICKS The Photoshop Elements 3 Published by Down and Dirty Tricks Team New Riders / Peachpit Press CREATIVE DIRECTOR Copyright © 2005 by Scott Kelby Felix Nelson TECHNICAL EDITOR First edition: December 2004 Polly Reincheld All rights reserved. No part of this book may be reproduced or transmitted in any form, by any COPY EDITOR means, electronic or mechanical, including photocopying, recording, or by any information stor- Chris Main age and retrieval system, without written permission from the publisher, except for inclusion of brief quotations in a review. PRODUCTION EDITOR Kim Gabriel Composed in Cronos, Helvetica, and Apple Garamond Light by NAPP Publishing PRODUCTION MANAGER Dave Damstra Trademarks All terms mentioned in this book that are known to be trademarks or service marks have been PRODUCTION DESIGNERS appropriately capitalized. New Riders / Peachpit Press cannot attest to the accuracy of this Dave Korman information. Use of a term in the book should not be regarded as affecting the validity of any Taffy Orlowski trademark or service mark. COVER DESIGNED BY Felix Nelson Photoshop is a registered trademark of Adobe Systems, Inc. Windows is a registered trademark of Microsoft Corporation. COVER PHOTOS AND STOCK IMAGES Warning and Disclaimer The royalty-free stock images This book is designed to provide information about Photoshop Elements. Every effort has been in this book are courtesy of made to make this book as complete and as accurate as possible, but no warranty of fitness is implied. The information is provided on an as-is basis. The authors and New Riders / Peachpit Press shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book or from the use of the discs or programs that may accompany it.
    [Show full text]
  • Blacks Reveal TV Loyalty
    Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows.
    [Show full text]
  • In Living Color: Andy Warhol & Contemporary Printmaking
    NEWS RELEASE 2200 Dodge Street, Omaha, Nebraska 68102 Phone: 402-342-3300 Fax: 402-342-2376 www.joslyn.org For Immediate Release Contact: Amy Rummel, Director of Marketing and Public Relations October 3, 2014 (402) 661-3822 or [email protected] Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation Exhibition of Pop Art Premieres at Joslyn Art Museum (Omaha, NE) – Reflecting a range of aesthetic concerns and conceptual underpinnings, In Living Color: Andy Warhol and Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation highlights artists who invest in the power of their palettes. Dispatching a seemingly endless array of colors, Andy Warhol depicted the world with the volume turned up. His example reverberates throughout contemporary printmaking. This exhibition, organized and traveled by Joslyn Art Museum, includes over 110 -more- IMAGE ABOVE: Andy Warhol (American, 1928-1987), Marilyn Monroe (Marilyn) (II.25), AP edition C/Z, 1967, screen print, 36 x 36 inches, Collection of the Jordan Schnitzer Family Foundation, 2001.51d; © 2014 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York; Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn Monroe, LLC add 1-1-1-1 In Living Color: Andy Warhol & Contemporary Printmaking from the Collections of Jordan D. Schnitzer and his Family Foundation works by Warhol and 16 other artists working since 1945, including John Baldessari, Ross Bleckner, Louise Bourgeois, Helen Frankenthaler, Keith Haring, and Richard Diebenkorn. In Living Color premieres nationally at Joslyn Art Museum on October 11 and continues through January 11.
    [Show full text]
  • PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
    PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2.
    [Show full text]
  • Media Studies, a Cultural History of American Color Television
    Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/research/fellowships for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Brought To You in Living Color: A Cultural History of American Color Television Institution: New York University Project Director: Susan Murray Grant Program: Fellowships Brought to You in Living Color: A Cultural History of American Color Television Research and Contribution In the June 30th, 1951 issue of The Saturday Review, Goodman Ace cynically addresses the arrival of color television. He, like other critics at the time, was not convinced of the need for the new technology so early in the medium’s development and was instead suspicious of the motives behind the networks’ moves toward color. With his characteristically droll style, Ace writes, “So color is the transfusion television needs to arouse it from its coma of monotony.
    [Show full text]
  • Selling Color: the Development and Marketing of the NTSC Color Television Broadcasting Technology and the Implications for HDTV. PUB DATE 93 NOTE 17P
    DOCUMENT RESUME ED 358 827 IR 016 107 AUTHOR Gutenko, Gregory TITLE Selling Color: The Development and Marketing of the NTSC Color Television Broadcasting Technology and the Implications for HDTV. PUB DATE 93 NOTE 17p. PUB TYPE Historical Materials (060) Reports Descriptive (141) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Broadcast Industry; Broadcast Reception Equipment; Color; Educational Technology; Futures (of Society); Marketing; *Mass Media Role; Networks; Problems; Public Opinion; Standards; *Technological Advancement; *Television; United States History; *Videodisks IDENTIFIERS *High Definition Television ABSTRACT The introduction and acceptance of color television and the National Television System Committee (NTSC) color standard are reviewed for the lessons they hold for the future of high definition television (HDTV). Between 1946 and 1974, 28 years of salesmanship were required to move color television from the experimental phase to its assimilation into broadcast production and consumer expectations. The NTSC color broadcasting standard has been in use for over three decades, but has enjoyed casual acceptance for a much shorter period. It is finally securely entrenched, but is, in fact, technologically obsolete. HDTV faces obstacles as great as those faced by color television in the past. The major problem is that low-definition NTSC already occupies the space needed for existence in the broadcast frequencies and studios and in American homes. Unlike color television, HDTV is not obstructed as a video standard in other applications, and HDTV has a toehold in the United States as a specialized video production format. Issues of compatibility with existing equipment and formats are a major factor in the introduction of HDTV as they were for color television.
    [Show full text]
  • Contentious Comedy
    1 Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era Thesis by Lisa E. Williamson Submitted for the Degree of Doctor of Philosophy The University of Glasgow Department of Theatre, Film and Television Studies 2008 (Submitted May 2008) © Lisa E. Williamson 2008 2 Abstract Contentious Comedy: Negotiating Issues of Form, Content, and Representation in American Sitcoms of the Post-Network Era This thesis explores the way in which the institutional changes that have occurred within the post-network era of American television have impacted on the situation comedy in terms of form, content, and representation. This thesis argues that as one of television’s most durable genres, the sitcom must be understood as a dynamic form that develops over time in response to changing social, cultural, and institutional circumstances. By providing detailed case studies of the sitcom output of competing broadcast, pay-cable, and niche networks, this research provides an examination of the form that takes into account both the historical context in which it is situated as well as the processes and practices that are unique to television. In addition to drawing on existing academic theory, the primary sources utilised within this thesis include journalistic articles, interviews, and critical reviews, as well as supplementary materials such as DVD commentaries and programme websites. This is presented in conjunction with a comprehensive analysis of the textual features of a number of individual programmes. By providing an examination of the various production and scheduling strategies that have been implemented within the post-network era, this research considers how differentiation has become key within the multichannel marketplace.
    [Show full text]
  • Stills for TV
    Stills for TV: https://www.dropbox.com/sh/0crm46s6ukoirs2/AAAVnl3e1bhz0zlvK7ULMwAya?dl=0 Stills for N.O.W.: https://www.dropbox.com/sh/d98xpb4faiv5so4/AAD4BmXMY8NaNPkF2RvRhLTIa?dl=0 TRIBECA FILM FESTIVAL® ANNOUNCES 2019 TRIBECA TV® AND N.O.W. LINEUP; ANNIVERSARY EVENTS FOR GROUNDBREAKING SERIES THE SIMPSONS AND IN LIVING COLOR World Premieres Include Amazon Prime Video’s The Boys; HBO’s Chernobyl and On Tour with Asperger’s Are Us; Netflix’s Tuca & Bertie; Nat Geo’s The Hot Zone and A&E Network’s I Want My MTV A Special Tribeca Talks® Farewell Conversation with the Cast and Creator of Mr. Robot NEW YORK, NY– March 18, 2019 – The 2019 Tribeca Film Festival, presented by AT&T, will debut highly- anticipated new and returning TV series and spotlight creative online storytelling work. The Tribeca TV lineup will include 16 shows made up of eight series premieres, two season premieres, one feature documentary, and five indie pilots. The N.O.W. (New Online Work) section, sponsored by HBO, will showcase 12 projects from creators using digital platforms to tell original stories in addition to special spotlight programs. The N.O.W. Creators Market will return to connect online creators with industry professionals. Building on the Festival's successful film reunions, for the first time this year, Tribeca TV will celebrate anniversaries of acclaimed series In Living Color and The Simpsons, the longest-running American sitcom, marking its milestone 30th anniversary. The hit series Mr. Robot will return to Tribeca after its first episode screened at the Festival in 2015 to celebrate the final season with a special Tribeca Talk conversation with stars Rami Malek, fresh off his Oscar win, Christian Slater, Carly Chaikin, and creator Sam Esmail.
    [Show full text]
  • OBJ (Application/Pdf)
    ABTRACT AFRICANA WOMEN'S STUDIES WILBURN, SHENETHA L. B.A. HAMPTON UNIVERSITY, 1997 DECONSTRUCTION OF STEREOTYPES AND MEDIATED MESSAGES IN AFRICAN-AMERICAN SITCOMS Advisor: Dr. Josephine Bradley Thesis dated May, 2002 This study examines the images of African Americans in black-themed sitcoms and mediated messages presented here. The study was based on the premise that the images of African Americans on television sitcoms are one dimensional and comedic. A content analysis approach was used to analyze various television sitcoms. Definitions were used to determine what type of image existed using the foundation provided by Donald Bogle and Stewart Hall. The researcher found that although many of the African-American-themed sitcoms investigated represented traditional stereotypical images, there were mediated messages in these sitcoms, which offered a new and different perspective on African Americans. This suggests that African-American images on black-themed sitcoms are moving forward. Additionally, the researcher found that sitcoms depicting African-American life from a comedic point-of-view seem to be more acceptable in popular culture than those which depict life from a dramatic and/or realistic point-of-view. DECONSTRUCTION OF STEREOTYPICAL IMAGES AND MEDIATED MESSAGES IN AFRICAN-AMERICAN SITCOMS A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERISTY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY SHENETHA L. WILBURN DEPARTMENT OF AFRICANA WOMEN'S STUDIES ATLANTA, GEORGIA MAY 2002 "■V. ©2002 SHENETHA L. WILBURN All Rights Reserved ACKNOWLEDGEMENTS I would like to thank and acknowledge the following people for their dedication and commitment to my research: Dr.
    [Show full text]
  • The Simpsons. a Transnational Text to a Transnational Audience
    University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 12-1-2001 Ay Carumba!: The impS sons. A Transnational Text to a Transnational Audience Anita C. Ramdharry Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Ramdharry, Anita C., "Ay Carumba!: The impsS ons. A Transnational Text to a Transnational Audience" (2001). Theses and Dissertations. 1117. https://commons.und.edu/theses/1117 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. AY CARUMBA!: THE SIMPSONS. A TRANSNATIONAL TEXT TO A TRANSNATIONAL AUDIENCE. by Anita C. Ramdharry Bachelor of Arts, De Montfort University Leicester, 2000 A Thesis Submitted to the Graduate Faculty of the University of North Dakota in partial fulfillment of the requirements for the degree of Master of Arts Grand Forks, North Dakota December 2001 This thesis, submitted by Anita Ramdharry in partial fulfillment of the requirements for the degree of Master of Arts from the University of North Dakota, has been read by the Faculty Advisory Committee under whom the work has been done and is hereby approved. This thesis meets the standards for appearance, conforms to the style and format requirements of the Graduate School of the University of North Dakota, and is hereby approved. ii PERMISSION Title Ay Carumba!: The Simpsons. A transnational text to a transnational audience Department School of Communication Degree Master of Arts In presenting this thesis in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection.
    [Show full text]