Dave Chappelle's new Netflix special Sticks & Stones....what u think?

[forcesteeler]

It’s a crazy world we live in.

If you look at all the right wing newspapers and alt right you tube. They are all praising Dave Chappelle for speaking his mind.

While the Left Wing Media is calling him canceled and homophobic.

It’s crazy that republicans have more sense of humor than the democrats.

5-10 years ago it was the complete opposite. Damn complete culture shift!!

 

[Deezz]

I just watched the special and that shit was hilarious!!! I laughed throughout the entire show.

 

[knightmelodic]

Absolutely side-splitting. And insightful as always. But, damn, I wish he wouldn't use n**** so much.

 

[zod16]

I enjoyed this one better than the last special he did.

He spoke on a lot of shit that needed to be spoke on.

Exactly. I think this #metoo shit really fucks with him because he turned down crazy fame/fortune with the Chapelle Show on principal and you now have people who want to stand against something but also still collect the check.

 

[geechiedan]

It’s a crazy world we live in.

If you look at all the right wing newspapers and alt right you tube. They are all praising Dave Chappelle for speaking his mind.

While the Left Wing Media is calling him canceled and homophobic.

It’s crazy that republicans have more sense of humor than the democrats.

5-10 years ago it was the complete opposite. Damn complete culture shift!!

nigga please...republicans/conservatives have NO sense of humor they just like seeing the left get their panties in a bunch...

 

[playahaitian]

​

 

[Rembrandt Brown]

Dave Chappelle’s Provocations Have Turned Predictable
After his fifth Netflix stand-up special, ‘Sticks and Stones,’ the renowned comic is becoming harder and harder to romanticize
By Alison Herman
The Ringer
Aug 27, 2019

To save everyone some time, here are a few of the headlines you can expect to see as the internet starts to metabolize Dave Chappelle’s latest stand-up special for Netflix, Sticks and Stones: “Dave Chappelle Doesn’t Believe Michael Jackson’s Accusers.” “‘What Is the Threat?’: Dave Chappelle Thinks Louis C.K. Backlash Overblown.” “Dave Chappelle Defends Kevin Hart.” “Dave Chappelle Blames #MeToo for Anti-Abortion Laws.” Like most of Chappelle’s recent output, Sticks and Stones is designed to generate inflammatory coverage, which will in turn generate a chance for Chappelle to dismiss said coverage as reductive, opportunistic, and generally out to get him. It’s a symbiotic cycle with no end in sight, and it’s become the last thing a beloved provocateur should ever want to be: predictable.

The playground taunt from which Sticks and Stones takes its name hints at some measure of self-awareness. Sticks and stones—and the buckshot Chappelle ponders shooting at a hypothetical heroin addict breaking into his Ohio home—may break his bones, but words can never hurt a many-times-over millionaire speaking his mind on the world’s most influential entertainment platform. Chappelle eventually exits the stage to Kendrick Lamar’s “DNA.,” and sources Sticks and Stones’ epigraph from its lyrics: “Tell me somethin’ / You mothafuckas can’t tell me nothin’ / I’d rather die than to listen to you.” By now, that much is clear—“you” meaning the audience, and also the poor stylist who may have cautioned against wearing a custom army-green jumpsuit onstage.

Sticks and Stones is the fifth entry in Chappelle’s Netflix era, a triumphant, frustrating, highly lucrative reentry into public life after more than a decade on self-imposed hiatus. The first four hours, recorded over the course of three years and released in a span of just nine months, encompassed a wide variety of styles and subjects: a raucous sermon at a music festival, held in Chappelle’s archive for years; a more meditative sit-down at an intimate Los Angeles club, handed over to the rest of the world in just over a month.

They also shared a set of common themes. In his middle age, Chappelle has developed an obsession with social issues that speak far more to his personal anxieties than the lived experience of those affected by them. Between the two paired releases that turned Chappelle from elusive prophet to regular presence in less than a year, the reaction to these unfashionable opinions curdled from a minor caveat to an otherwise much-welcomed return into a serious hang-up for fans who grew up on Chappelle’s Show and preserved it in cultural amber. This response also went from a consequence of Chappelle’s comedy to fuel for it, with much of the second special spent not rectifying the profound misunderstanding of transgender people demonstrated in the first, but defending its expression. During his absence, Chappelle was easy to lionize as a symbol of irreverence, integrity, or whatever other qualities we could project onto the negative space he used to occupy. During his resurgence, Chappelle is increasingly difficult to romanticize—though one gets the sense that being anyone’s romantic hero is the last thing Chappelle wants.

There are many fallacies contained in Sticks and Stones’hour-plus of pop philosophizing, and few worth picking apart. Kevin Hart was “precisely four tweets short of being perfect” for the Oscar job, and no amount of apologizing could make up for it. (“But he never actually apologized!” a small voice inside you may object, until realizing Chappelle would never internalize a set of facts that counter either his aggrievement or the jokes he sources from it.) #MeToo went too far, and now several states, including the one where the Atlanta-shot special was filmed, have passed near-total abortion bans. (“Movement conservatism goes back a lot further than that!” the same voice will exclaim.) Show business has one unspoken, ironclad rule: “No matter what you do in your artistic expression, you are never, ever allowed to upset the alphabet people,” meaning members of the LGBTQ community. (“Doesn’t the very existence of this special prove otherw…” the voice will trail off, before falling silent forever.)

Underlying these convenient shortcuts—which are taken to set up some punch lines better and sharper (“My shit’s like an above-ground pool”) than others (“Somebody’s gotta teach these kids there’s no such thing as a free trip to Hawaii”)—is a much deeper contradiction. All this casual bomb-throwing, delivered with Chappelle’s signature smirk and walk-away-from-the-explosion shuffle, is conducted under the pretense that Chappelle is a truth-teller. Like so many other comics, Chappelle sees himself as countering conventional wisdom with hard realities the audience doesn’t want to hear, cushioned by a laugh. But Chappelle’s takes don’t defy establishment thinking at all; they simply channel it.

The more time Chappelle spends back in the spotlight, the less distance, and therefore exceptionalism, he maintains from other members of his generation. (Not that Chappelle himself is all that interested in drawing a distinction; he describes C.K. as “a very good friend of mine before he died in that terrible masturbation accident.”) As ever, Chappelle remains a cut above in terms of execution: “a long gander at the anus” is an objectively brilliant turn of phrase, however upsetting its use in the context of the Jackson abuse allegations; an extended analogy about a road trip shows a surprisingly savvy understanding of the internal politics of LGBTQ activism. But Chappelle’s stances on everything from the WNBA to “celebrity hunting season” are perfectly in line with the forces that keep the WNBA so undervalued in the first place or book Hart for a commiserating gripe session on Ellen. Chappelle shares a basic misunderstanding of power—as well as the resulting victim complex—with many other celebrities, and a set of deeply held assumptions with that one uncle you pray you don’t wind up next to on Thanksgiving.

In Aziz Ansari’s very different resumption of a public persona, Right Now, the comic gripped many of the same third rails as his colleague. Chief among them was the art-vs.-artist debate surrounding Jackson and R. Kelly, a subject that both men feel similarly ambivalent about in starkly contrasting tones. Ansari is circumspect and performatively torn, a more careful approach that may be informed by the comedian’s personal history with controversy, yet dovetails with his conscientious vibe. Chappelle, meanwhile, is openly combative, freely describing himself as a “victim blamer” after proudly declaring, “I do not believe these motherfuckers!” As with the 2017 specials, what jars isn’t the line itself, but the thunderous applause that greets it. Chappelle isn’t challenging anyone’s previously held point of view. He’s giving the many, many people who share it permission not to look much closer in the mirror.

Because this is a Dave Chappelle special in 2019, Chappelle includes a preemptive rejoinder to those who might take issue with some of his jokes. “If you at home watching this shit on Netflix,” he crows, “remember, bitch—YOU clicked on my face!” In one sense, he’s right; at this point, what are we supposed to expect? Gritting one’s teeth to get through a Dave Chappelle set is now, by apparent design, part of the experience of a Dave Chappelle set, which makes itemizing the reasons for doing so in a review as inevitable as it is futile. As Chappelle ossifies further into a set of recognizable tics, the mystery of what he was up to has been replaced by the obvious reality of what he’s become. Chappelle is adamantly opposed to change. Time will tell whether his audience is similarly committed.

 

[Rembrandt Brown]

I loved the special. But the article below makes a damn good point in its conclusion.

Dave Chappelle Doesn’t Need To Punch Down
In his occasionally funny new Netflix special, Chappelle continues to make anti-trans and victim-blaming jokes. Why can't he strive to be more thoughtful?
Tomi Obaro
BuzzFeed News

What’s the most embarrassing public statement you’ve ever made that you’ve had to walk back? As a Sagittarius and a former conservative evangelical Christian — and quite a zealous one — I have plenty.

I won’t regale you with all of them, but certainly one of my top 10 is when I logged on to Facebook dot com in the year of our Lord, 2009. Michael Jackson had just died, and my Facebook feed was disturbingly lacking in sympathetic words of sorrow. One girl whom I went to high school with posted a status about how she didn’t understand why people were so upset about his death — he was "a gross pedophile."

I was in a vulnerable place. The high school I went to was full of white people who liked to listen to Dave Matthews Band and ask me whether I tanned. I had spent hours in a fugue state watching videos of Jackson when he was a lanky teenager, wiggling his sequined hips in the “Rock With You” music video, his skin still the color of a coconut husk. He still had that wide, broad, and beautiful nose that looked like my nose (and that I too had once hated).

I don’t remember exactly what I wrote under that girl’s status. It was something mean and cutting, and I definitely went on about how he had been acquitted. She responded by saying that swooping in to comment on the post of a random classmate I wasn’t even friends with in real life to defend Jackson was proof of how ridiculous I was being. Touché. I promptly unfriended her and reminded myself to never get into Facebook arguments; they were a black hole.

I thought of that time, and that current of righteous anger, as I watched Dave Chappelle’s latest Netflix stand-up special, Sticks & Stones, which came out this week and has been predictably pilloried for its dismissal of sexual assault victims and anti-trans jokes. Chappelle proudly confesses as much early on in the special: “I’m what’s known on the streets as a victim-blamer.”

He defends Jackson, conceding that even if the two men who came forward in HBO’s documentary special Leaving Neverland earlier this year were telling the truth, it would be an honor to be molested by a musical legend: “I know more than half the people in this room have been molested in their lives. But it wasn’t no goddamn Michael Jackson, was it? This kid got his dick sucked by the King of Pop! All we get is awkward Thanksgivings for the rest of our lives.”

It’s the kind of purposefully ludicrous statement that’s designed to provoke, of course — it's not even funny so much as shocking. You hear the audience gasp. (But the loudest boos of the whole night are reserved for when Chappelle jokes about how there’s no such thing as good 36-year-old pussy, which is the punchline to an R. Kelly bit. It’s telling that you can hear an audible exhale when Chappelle concedes that Kelly probably did rape his alleged teenage victims, even though he throws Surviving R. Kelly documentary filmmaker Dream Hampton under the bus to make that point.)

“I’m sorry, ladies, I’ve got a fucking #MeToo headache,” Chappelle complains. “This is the worst time ever to be a celebrity. Everyone’s doomed,” He defends Louis C.K., freely admitting that he’s biased as he’s friends with the guy. “They even got poor Kevin Hart,” Chappelle says. He describes Hart’s 2011 tweet about smashing his hypothetically gay son’s head with a dollhouse as “obviously” a joke. That’s before he launches into a whole spiel about “the unspoken rule of show business,” which “is that you are never, ever allowed to upset the alphabet people” — those people being “the Ls and the Gs and the Bs and the Ts.”

At this point, we’re reentering a familiar cycle: Chappelle releases a special on Netflix, he says something incendiary, it’s quoted back to him in a headline, and Chappelle reacts to the criticism in another Netflix special.

But Sticks & Stones feels distinct in that it encapsulates Chappelle’s paradoxical urges. You could say he’s doubling down, as some critics have written, but that's not quite right. It’s a low, low bar, but some of the more truly vile anti-trans stuff has been excised from this recorded special. (It was filmed in Atlanta in 2017, two weeks before his run of sold-out Radio City Music Hall shows, so maybe he had time to reconsider the “man-pussy” jokes.)

But Chappelle still wants it both ways. He is willing to address criticisms of his earlier sets that were more flagrantly, lazily anti-trans, but not actually apologize or admit to changing his mind or express any meaningful empathy. In his 2017 special, Equanimity, he talks about receiving a letter from a white trans fan who criticized his transphobia, using the remark to essentially make more tired anti-trans jokes (and it turns out some of the details of the bit were highly embellished). And in a surprise epilogue to Sticks & Stones, he tells another story about Daphne, a trans woman who attended several of his sets in San Francisco and laughed hard at every joke. Afterward, according to Chappelle, they chatted at the bar and Daphne thanked him for “normalizing transgenders.” The audience at Radio City Music Hall, where Chappelle told this story, applauds loudly. It’s cringe-inducing — such a blatantly cynical, familiar move out of the old “I have a marginalized friend, so I can make this joke” playbook. (When Louis C.K. joked about his black friends who have stood by him, I imagine he must have been talking about Chappelle.)

What is especially frustrating about Chappelle’s trans jokes is how he essentially acts as if black trans people don’t exist, and as if black trans women in particular aren’t more likely to be victims of violence. His truth-to-power comedy only works if he acts as though trans people and black people are wholly separate entities. It’s enough to make you want to tie Chappelle to a chair and force him to binge-watch episodes of Pose.

Even if you ignored all the offensive jokes — which is a big ask, so I understand if you can’t — you’re still left with comedy specials that aren’t even particularly funny.

And it grates, of course, because he has been shattering the mythos constructed around him ever since he famously walked away from a reported $50 million deal with Comedy Central in 2005. Dave Chappelle! The funniest man in America! If he had lived in Midwestern bliss for the rest of his life, his legend as one of our most hilarious, biting, silly, essential stand-up comics alive would have stayed intact — even if he did always have a few sets and sketches that were stupid and sexist and racist. But now he’s just like any other rich, middle-aged has-been, bravely taking on "cancel culture," even as he continues to nab $60 million deals with Netflix.

As Vulture music critic Craig Jenkins recently tweeted, this cycle of jokes, outrage, jokes, repeat doesn’t actually affect Chappelle’s bottom line. He’s still a millionaire — and one who’s still getting booked, at that. So what’s really to be gained from punching down on the most vulnerable? Despite his fearmongering about celebrities falling victim to "cancel culture," it’s not like Chappelle has actually been shunned. It has merely become less cool to say that you’re a Dave Chappelle fan at certain parties in Brooklyn.

As a beleaguered fan (like "I once spent more money than I had in my checking account to split a cab ride with a girl I didn't know to watch him perform in a suburb of Chicago and then got stranded in said suburb because there were no cabs going back to the city"–level fan); I want to believe that Chapelle is more thoughtful than he’s been acting lately. And even in Sticks & Stones, which is better than the last two specials, there are kernels of funniness. He still makes me laugh out loud. He can still tell a story with surreal, spellbinding relish — his bit on buying a gun is hilarious. His face is so expressive; his eyes twinkle with impish glee. The way he holds his cigarette and leans forward, looking like a mischievous little boy, shocked that he can get away with it.

But he’s not a little boy. He’s a grown-ass man. And it feels like he keeps making anti-trans and victim-blaming jokes just because he can, which, sure. But why not strive to be more interesting, more original, more thoughtful?

Toward the end of the special, before the epilogue, Chappelle appears to make a conciliatory gesture: “If you’re in a group that I make fun of, just know that I see myself in you. I make fun of poor white people because I was once poor.” I waited for him to say what he saw in trans people, in victims of sexual assault, or in gay men. But he never said anything.

 

[heavyhand]

where did this idea that comedy is only supposed to punch up come from, these mathufuckas never learned to laugh at themselves

 

[Quek9]

where did this idea that comedy is only supposed to punch up come from, these mathufuckas never learned to laugh at themselves

fuck them and their sympathizers.

 

[jack walsh13]

​

Fuck them

 

[Rembrandt Brown]

where did this idea that comedy is only supposed to punch up come from, these mathufuckas never learned to laugh at themselves

fuck them and their sympathizers.

Hannah Grimm, who claims to be white, dished out some strong ether..


Hannah Grimm
5 months ago
+Kathleen Flippen You're not missing anything; anyone who starts talking about "reverse-racism" has no concept of privilege or history or how punching-up is inherently different from punching-down.

Hannah Grimm
5 months ago
+keef u So...did you actually watch the video? Again, it's really not racist to call a group which has a stranglehold on power in your society out on their bullshit. In America, that group is white people. It's not racist for someone to call me, a white person, on whatever subconscious pieces of racism that I've internalized after spending most of my life in a racist society; it's social justice.

 

[Rembrandt Brown]

Like I said, pick from a million examples. Chappelle's tour buddy calling black people apes.

I was rebutting the premise that backlash at jokes "shows you how soft this generation is." Ignoring the entire argument to only focus on the first choice of example is a pathetically weak evasion.

Can you imagine a joke that receives backlash because it is legitimately offensive rather than today's kids being overly sensitive?

That's what is important, not whether or not that specific example counts as comedy.

Headline: Two children found inside freezer in east Detroit apartment
Punchline: It's so cold in the D...

I can’t wait for Blue Ivy to be old enough so R. Kelly can piss on her.

Some of the anti-outrage people would certainly criticize this type of humor.

When they condemn "sensitivity," they are condemning sensitivity about things they don't care about, but criticism suddenly becomes valid when they are offended.

If it hits home, it's war. If it's someone else's issue, "fuck them and their sympathizers." It's not about speech or sensitivity or principle.

For example...

Enjoyed it.
Every bit of it
Layers on layers

The indignant nature of today is at a fever pitch when it comes to things

The energy was in the documentary
Now that they're proven liars the energy is gone

It's not about being soft it's about everyone trying to be fake.

Fake is king around here not nuance not listening not retraction


Fake.

Dave jokes about how even if Michael Jackson did it, the little kids should have been honored and it's "Enjoyed it. Every bit of it" and criticism is evidence of how "the indignant nature of today is at a fever pitch." The Dave Hive will not stand for criticism.

But when it's Beyonce's kid who is the target of jokes, "all of them should be taken to task... they all thought it was funny to say that about a little ass toddler. fuck all of them."

Is the standard just "It's okay if I like the person making the joke but people I like shouldn't be targeted"?

and all of them should be taken to task.

nothing slips past shit.

jokes have to be approved on all levels before they fucking make it on air.

they all thought it was funny to say that about a little ass toddler.

fuck all of them.

 

[tallblacknyc]

Headline: Two children found inside freezer in east Detroit apartment
Punchline: It's so cold in the D...

I can’t wait for Blue Ivy to be old enough so R. Kelly can piss on her.

Some of the anti-outrage people would certainly criticize this type of humor.

When they condemn "sensitivity," they are condemning sensitivity about things they don't care about, but criticism suddenly becomes valid when they are offended.

If it hits home, it's war. If it's someone else's issue, "fuck them and their sympathizers." It's not about speech or sensitivity or principle.

For example...


Dave jokes about how even if Michael Jackson did it, the little kids should have been honored and it's "Enjoyed it. Every bit of it" and criticism is evidence of how "the indignant nature of today is at a fever pitch." The Dave Hive will not stand for criticism.

But when it's Beyonce's kid who is the target of jokes, "all of them should be taken to task... they all thought it was funny to say that about a little ass toddler. fuck all of them."

Is the standard just "It's okay if I like the person making the joke but people I like shouldn't be targeted"?

You really going hard like you want us to hate his routine or mad that we enjoyed it... We liked it you didn't deal with it

 

[Rembrandt Brown]

You really going hard like you want us to hate his routine or mad that we enjoyed it... We liked it you didn't deal with it

I loved it!

I'm just not unquestioning in my adherence. I like analyzing comedy. I put up a thread about what's off-limits and what's not in comedy the day before his special was released.

You're projecting because you're the one who can't deal with it. You don't like having a discussion about the comedy that goes beyond "LOL, that was great," then you don't have to; nobody is forcing you to participate.

 

[tallblacknyc]

I loved it!

I'm just not unquestioning in my adherence. I like analyzing comedy. Put up a thread about what's off-limits and what's not in comedy the day before his special was released.

You're projecting because you're the one who can't deal with it. You don't like having a discussion about the comedy that goes beyond "LOL, that was great," then you don't have to; nobody is forcing you to participate.

if you grew up in a black house and had family reunions and had a lot of funny motherfuckers in your family.. Than you know there is no chill and everything gets joked on.. Dave juss said a bunch of s hit that I could easily see a bunch of motherfuckers in my family saying... That's why it was refreshing... Comedy has always been like that... You laugh at your pain, others pain, current news, today society, cacs, etc

 

[M3MD]

if you grew up in a black house and had family reunions and had a lot of funny motherfuckers in your family.. Than you know there is no chill and everything gets joked on.. Dave juss said a bunch of s hit that I could easily see a bunch of motherfuckers in my family saying... That's why it was refreshing... Comedy has always been like that... You laugh at your pain, others pain, current news, today society, cacs, etc

I agree

All he's saying (he can correct me if I'm wrong) is that...if a white comedian was talking like that about US, we would have a major problem with it and that reference to what Amy Poehler said is a perfect example. There are people in that thread highly offended but in here coppin pleas. It's a clear contradiction.

Nevertheless, I loved the routine. I thought it was brilliant.

 

[Rembrandt Brown]

I agree

All he's saying (he can correct me if I'm wrong) is that...if a white comedian was talking like that about US, we would have a major problem with it and that reference to what Amy Poehler said is a perfect example. There are people in that thread highly offended but in here coppin pleas. It's a clear contradiction.

Nevertheless, I loved the routine. I thought it was brilliant.

Pretty much. It's not just about "us" as black people but any group (men vs women, straights vs "the alphabet police," race, religion, whatever).

Chappelle is in my top 5 and arguably the GOAT. But I'm not going to applaud something he says uncritically because it comes from him rather than Joe Rogan. Consistency is important. And just because I laugh at something doesn't make it right. I put up a thread about how Richard Pryor, who's most famous special is "That's ******'s Crazy," later condemned use of the n-word. Chris Rock disavowed his signature piece, Black People vs. Niggas. (As he should have-- It was funny but also self-loathing, irresponsible and just plain wrong.) The great comedians are intellectuals-- Chappelle, Pryor, Rock, Carlin. For me, there's joy to be derived from analyzing and understanding the brilliance in addition to simply applauding or appreciating it.

I think Dave has better stuff in him than being the guy who isn't afraid to take on trannies and sexual assault victims. And-- I'm contradicting my initial praise for this special with this thought-- it's really not all that brave to preach to the silent majority, which is a big part of what his comedy has been about these past few years. There's little more fake than saying "You aren't allowed to say _____" while making millions saying that very thing.

 

[forcesteeler]

As Black Folks we went through real oppression and racism. Millions of People have died through slavery and dealing with racism and the KKK.

Most of the LGBT Community is full of white people. They never went through any real obsession or racism. Just because you want to be open about sucking cock, Does not mean oppression.

 

[geechiedan]

if you grew up in a black house and had family reunions and had a lot of funny motherfuckers in your family.. Than you know there is no chill and everything gets joked on.. Dave juss said a bunch of s hit that I could easily see a bunch of motherfuckers in my family saying... That's why it was refreshing... Comedy has always been like that... You laugh at your pain, others pain, current news, today society, cacs, etc

thats not true...we laff at OTHERS pain but NOT our own especially when its delivered by someone who isn't black. you know this.

I'm not saying what dave did was wrong...I'm saying that sword cuts both ways. and soon enough there will be a nonblack comedian who will go hard on black people in the same questioning way dave did with gays and you KNOW what the reaction WILL be. (hint: it ain't gonna be "well he has a point")

you KNOW something is off when you see conservatives say shit like this

meanwhile dave ALSO mentioned how black people should arm ourselves...why..BECAUSE OF WHITE PEOPLE... he also talked about how he cares as much about the opioid crisis among whites as they did about crack in the black community when that was a crisis. But all they want to do is talk about how funny it was to poke fun of gays, trannies and call women on their shit about abortion.

Since when do cats on bgol align with rightwing assholes on any subject??

 

[playahaitian]

​

 

[Ceenote]

Absolutely side-splitting. And insightful as always. But, damn, I wish he wouldn't use n**** so much.

Y?

 

[kefta]

I liked every second and every minute of it. Dope!

Fuck the racist/white supremacist suspects and their sympathizers.

 

[Rembrandt Brown]

thats not true...we laff at OTHERS pain but NOT our own especially when its delivered by someone who isn't black. you know this.

I'm not saying what dave did was wrong...I'm saying that sword cuts both ways. and soon enough there will be a nonblack comedian who will go hard on black people in the same questioning way dave did with gays and you KNOW what the reaction WILL be. (hint: it ain't gonna be "well he has a point")

you KNOW something is off when you see conservatives say shit like this

meanwhile dave ALSO mentioned how black people should arm ourselves...why..BECAUSE OF WHITE PEOPLE... he also talked about how he cares as much about the opioid crisis among whites as they did about crack in the black community when that was a crisis. But all they want to do is talk about how funny it was to poke fun of gays, trannies and call women on their shit about abortion.

Since when do cats on bgol align with rightwing assholes on any subject??

I had seen the Townhall headline but, damn, Brietbart?

It will be interesting to see if he has another pixie sketch epiphany.

 

[playahaitian]

​

I have not SEEN this yet so my opinion is an critique of the backlash

( i DID see that particular clip though)

I do not like to TELL people what should and should NOT offend them

OR

tell that what IS funny or not.

However I think we KNOW when someone let alone a COMEDIAN is JOKING.

And intent DOES MATTER.

Dave essentially doubling down to me?

...is FUNNY and goes directly to his comedic sensibilities.

Because its unexpected and apparently he is using it to SHOW the inherent hypocrisy and biases we ALL have with this issues.

Again I have to WATCH this in CONTEXT before I go all in.

But people have a right to LIKE or DISLIKE a joke.

But if you gotta give a dissertation EXPLAIN WHY you aint find it funny?

you probably just didn't get it and its not really about offense

 

[forcesteeler]

Funny how he talking how Dave Chapelle is stuck in 1996. The problem with this generation and so called outrage callout culture is that most of this generation have no real social life or even social skills.

There stuck behind a keyboard and don’t understand the concept of jokes. Trust me I know. When I was younger I had surgery and was injured for almost 2 year and was not able to go outside because of my injury. I could not go out with friends to socialize. So when I finally started to socialize I realize I would take things way more personal and took things more personally because I was mainly in my house and barely socialize for almost 2 years.

This generation just needs to social more and leave social media alone and enjoy the real world.

 

[largebillsonlyplease]

Headline: Two children found inside freezer in east Detroit apartment
Punchline: It's so cold in the D...

I can’t wait for Blue Ivy to be old enough so R. Kelly can piss on her.

Some of the anti-outrage people would certainly criticize this type of humor.

When they condemn "sensitivity," they are condemning sensitivity about things they don't care about, but criticism suddenly becomes valid when they are offended.

If it hits home, it's war. If it's someone else's issue, "fuck them and their sympathizers." It's not about speech or sensitivity or principle.

For example...


Dave jokes about how even if Michael Jackson did it, the little kids should have been honored and it's "Enjoyed it. Every bit of it" and criticism is evidence of how "the indignant nature of today is at a fever pitch." The Dave Hive will not stand for criticism.

But when it's Beyonce's kid who is the target of jokes, "all of them should be taken to task... they all thought it was funny to say that about a little ass toddler. fuck all of them."

Is the standard just "It's okay if I like the person making the joke but people I like shouldn't be targeted"?

Couple things
There's a difference between a comedian working professionally and doing material
and trolls saying shit to intentionally be hurtful and not get a laugh.

Next everything is subjective so to ask whether it matters is just disingenuous
you'll laugh at a momma joke about someone else's mom but not your own

let's stop these games.

 

[largebillsonlyplease]

I agree

All he's saying (he can correct me if I'm wrong) is that...if a white comedian was talking like that about US, we would have a major problem with it and that reference to what Amy Poehler said is a perfect example. There are people in that thread highly offended but in here coppin pleas. It's a clear contradiction.

Nevertheless, I loved the routine. I thought it was brilliant.

A lot of white writer's wrote some of your favorite black characters and made a mockery of things that we thought was funny
So it's not necessarily true.
I think people just need to go on ahead and say either i liked it or i didn't and then leave it at that because there are CLEAR different dynamics in this country as to why some people can say things and some people cannot
when everyone is treated equally ACROSS THE BOARD WHERE IT MATTERS then we can sit around and worry about comedy

I'll never forget cedric the entertainer talking about people wanting him to march for animal rights
"Animal rights? Shit we ain't got all of our rights yet"

 

[phanatic]

They also shared a set of common themes. In his middle age, Chappelle has developed an obsession with social issues that speak far more to his personal anxieties than the lived experience of those affected by them.

Comedy is about taking the road less traveled and exaggerating a different point of view. I just saw on Twitter that Trump's personal assistant quit, and one of the pictures was of her carrying like 10 bottles of single serving water. My first thought wasn't "wow look at her working", it was "why wouldn't she just put the water in a bag and carry it?".

These people want Chappelle to be a life coach instead of a comedian. It's all laughs until he makes a joke that touches them. Fuck all of them.

 

[shaddyvillethug]

Just came in off Bourbon St, I'm good and fucked up and bout to shower w a baddie and watch this shit instead of fucking each other to death for the 5th night in a row.

Raw or nothing

 

[shaddyvillethug]

Watching now

Ga damn, anthony bordain

 

[World B Free]

Watching now

Ga damn, anthony bordain

 

[naijachief]

Dave was great as usual......I laughed at everything except for the child molestation jokes. I just didn't find that whole bit funny. Whether you think MJ is innocent or not, I don't think that topic can be funny.

 

[Ill Paragraph]

where did this idea that comedy is only supposed to punch up come from, these mathufuckas never learned to laugh at themselves

I’m still trying to figure out how the fuck a black person making a non-toxic joke about a group of people - many of whom enjoy infinitely more privilege than us - is considered punching down at all.

 

[Ill Paragraph]

Dave was great as usual......I laughed at everything except for the child molestation jokes. I just didn't find that whole bit funny. Whether you think MJ is innocent or not, I don't think that topic can be funny.

That shit was funny too but I don’t have any sacred cows when it comes to comedy.