Bob rock niggas vs dark people dissertation

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This paper addresses the id that is constructed of African-Americans through Rock’s terminology use of ethnic speech and taboo dialect. It also endeavors to represent Rock’s function of the skit and the controversial attitudes that arose, which include my own. 1 ) 0 Intro ‘Sticks and stones might break your bones yet words will never hurt you’. Unfortunately for Randall Kennedy this limerick held no connotation that he desired to acknowledge, as he recites his Mother’s words, he locates himself in war using a word, anything that for every African-American reaches the main of inflicted pain; Nigger.

Kennedy narrates his Mother’s knowledge during the period of the Jim Crow segregation, ‘I had been called nigger to my face over a couple of events by people who sought to convey their ethnicity hatred or contempt for all those blacks including me. ‘ (Kennedy, 2002) This word for Centuries, though has been in the centre of normalisation and empowerment in recent times, is the meaning of prejudice given by light supremacists.

Racial discourse has evolved over the years, the media has been at the frontline of these changes along with the law and democratic societies the word nigger still remains a enérgico taboo, it is history foreshadows it without matter what context the word may be used in, its cultural inheritance warrants the preservation. (Kennedy, 2000: 3) A man that attempted to change its detrimental meaning was your illustrious comic Chris Ordinary. Rock is well known for his politically inappropriate humour great fight to tackle racism and his 1996 HBO exceptional, Bring the Pain performance is exactly what give him his contentious status today.

‘Niggas vs . Black people’ is known as a twist in street culture vs . doing work class; it is just a linguistically questionable skit that portrays how boorish actions feeds ethnic stereotypes although including his own personal examination of the express of Dark-colored America. Ordinary empowers the term nigger and attempts to alter its injurious meaning. The pain this word has caused the African-American community has been a great expedient one, compromising the dignity, personality and representation of their race.

Rock expects to battle and eliminate the pain and with this is calls his performance, ‘Bring the pain’. 2 . 0 Laughing Things The attack of fun is an ideal that is sought after by many comedians; is it doesn’t notion of laughter that holds profound significance among its viewers. It gives culture and the specific access to the reality, truths which become identifiable from a different sort of view point, ‘laughter serves as a means to appreciate both what is found in the earth and precisely what is found within the person.

‘ (Gray & Putnam, 2009: 18). Without laughter fear will not be defeated and fears of the facts would not become overcome, with this contemporary society becomes dependent on fun, it gives a feeling of belonging, understanding and serves as a joint understanding and belief. (Clark, 1996) This kind of idea of the truth is based upon Bahktin’s theoretical take on laughter, as Gray and Putnam (2009: 18) point out, ‘Laughter is additionally a protection mechanism against external facts that confront our inner truths.

‘ These truths and concerns are determined with concepts such as, racism, politics and feminism. installment payments on your 1 Encapsulating the audience To capture Daniels’ (1989: 15) term when talking about the subjectivity of humour, ‘it’s funny because it makes me laugh’, highlights person social ideologies, each individual has their own pair of attitudes and beliefs and this therefore plays a part in the success of an anecdote, if it meets with ideological views is in the core of an audiences’ hilarity.

It will be deemed appropriate to acknowledge that comedy is maintained and managed with ideological boundaries in mind however concurrently, the professional of comedy derives into comedians pressing these limitations, this disrupts social order and that advocates alter and ridicule’s power instead of reinforcing it, which corelates back to this notion of identifying each of our inner truths.

According to Daniels (1989: 15), he states that comedy is usually not achieved through content alone, however , if picking separate the history of African-American comedians on black comedy; it is in fact this content alone which usually becomes a outbreak with the attributes of the comedians talk that sets off the complete performance. Online dating back to the Minstrel period ” the pioneers of comedy today, ‘Bert’ Austin Williams took stage as the first dark-colored American to take a lead role on a Broadway level, Williams initially became seen in Vaudeville as a successful double-act “Williams & Walker.

Williams and Master were profitable for the black community, their functions were a representation with their race nonetheless they entertained white-colored audiences by simply delivering works that included content which usually demeaned their particular race: employing words including, ‘coon’. On the risk of criticising the African-American race, they will still, at the expense with their careers performed for the white audience and their anticipations.

This stereotype of African-Americans is the one which became a collective ritual of unsupported claims complaint and occurrence. In 1951, a TV show known as ‘Amos ‘n Andy’ arrived at our displays but was terminated in 1953 due to problems from the NAACP (National affiliation for the advancement of coloured people), who have acknowledged the programme being only one representation of dark-colored folks. ‘Stereotyping is a process of selective notion by which the complex character of experience is filtered and simple into fixed categories.

‘ (Daniels: 1989) Parallel to representations of African-American figures in the mass media, notions offered from Daniels (1989: 3) are those of Halls who also profoundly illustrates, ‘[t]he depiction of blacks in well-liked media is fixed to a repertoire of fundamental images ” the slave, the indigenous, the showmaster ” while only certain characteristics and characteristics are selected for emphasis. ‘ Black people were afflicted by the notion that as a cohort they were portrayed to be the same as one another; having no first identity since an African-American as there are no different representations from the black social community.

Comedians such as Dick Gregory, Richard Pryor, Expenses Cosby and Eddie Murphy were just a few of many that fought against these racial bad stereotypes that had been portrayed in the media. In 1984 the introduction to ‘The Cosby Show’ was arranged across our screens. ‘The idea of The Cosby Present which was rejected by FONEM, they felt that America was not prepared to accept the concept of an undamaged, black middle-class family. ‘ (Crenshaw, A) The Cosby Show declared positive features to the dark stereotype in opposed to the black sitcoms that came prior to it.

Even though the success with the Cosby Display dispelled bad perceptions with the black community the initial thought was chucked, which contributes to racial segregation in American at that time throughout the 80’s. Nevertheless , the typical dark-colored family belief did change as a result of ‘The Cosby Show’ and opened the doors for many comedians and sitcoms to come. ‘The fresh prince of bells air’ and comedians such as Chappelle and Chris Ordinary were the start of a new technology of insurgences. 3. zero Rock’s linguistic segregation ‘Now we’ve got several things, a lot of racism occurring in the world right now. Who’s even more racist?

Dark people or perhaps white people; black people. You know why, cause all of us hate dark-colored people as well! Everything white colored people abhor about dark-colored people. Black people usually do not like about dark-colored people. ‘(Rock, 1996) In 1996 Bob Rock took to the level with his debatable stand-up skit ‘Niggaz versus Black People’ at the HBO special Take the pain functionality. Like Expenses Cosby, Ordinary too was in attempt to eliminate negative awareness of the dark-colored community but a way in which engages with a diverse group of audiences, to accomplish this he interplayed cultural and linguistic taboos to mock ideological perceptions of African-American identities.

Rock’s main aim of the debated skit was to diminish stereotypes that were obvious amongst the American public, this kind of notion from white supremacists that African-American citizens happen to be categorised to be ‘all the same’ was, in Rock’s eyes about to be obliterated. Rock proclaims ‘Nigga’s’ to become in very clear detachment via working class African-Americans, whose bad conduct is giving detrimental adverse images towards other ‘black people’, his attempts to provide vital messages in a comedy format can be described as portrayal of Rocks insistent intention to never allow a minority of troublesome persons tarnish the image of the African-American.

‘Every time black persons wanna have a good time, ignorant bum niggas fuck it up. ‘ (Rock, 1996) His immediate intention is usually to of course remove racism not really promote it, on the other hand from the watch point coming from an audience member who certainly are a collection of numerous various races, the question to whether he reached out to any or all individual people is debatable due to ideological boundaries and beliefs, while discussed in (2. 1). Rock clears the present with Paradox, it draws a ‘white’ audience in and usually takes members of the public by surprise; an African-American man is standing on level telling his audience that black folks are more racist.

He has captured communities of different competitions, whether that being good or perhaps bad he has his audience seized. He determines his individual community and creates a separate identity to others within the ‘black’ community; this individual takes these remarks made by the media, ideas that are created between groups of people and verbally throws it back allowing the strength of discourse being retained inside the African-American community.

Rock endeavors to take on a social discourse, giving the ideology ‘Nigga’ a new contentious status, separating it from working category African-American residents. In congruence to this, Grey and Putnam (2009: 19) states, when ever referring to Chappelle’s ‘Exploring Niggerdom’, ‘[C]hapelle succeeds in appropriating a terms that has recently been saved in the hands of the white wines. By using terminology for his own goal, with his personal nuances and intentions, Chappelle takes backside the power that whites experienced originally provided to that vocabulary.

‘ The main element notion that is certainly represented this is power within just language, even though Rock attempts to capture this power as Chappelle (2003) successfully would, a small percentage of Rocks target audience failed to hook up to his dialect use decorously because of this Rock and roll never performed that skit again. Several critics suggest that the ‘black’ community was offended although some felt they as well had the population authority to say the ‘N’ word. 3. 1 The ‘N’ phrase; Nigger. ‘There’s black people and will be certainly niggas and nigga’s have to go.

‘ (Rock, 1996) The term ‘nigger’ is a single many do not wish to publically celebrate, it really is derived from the Latin term ‘Niger’ and has transformed over Hundreds of years to hold diverse connotations; during history, the word ‘Nigger’ is a huge frequent happening, its use is, ‘[e]mployed to impose disregard upon [blacks] as a substandard race'(Kennedy, 2002: 5) It has even been employed after children with nursery rhymes, one that may be commonly regarded is, ‘Eeny-meeny-miney-mo, catch a nigger by toe, in the event that he hollers; let him proceed, eeny-meeny-miney-mo.

‘ Paradoxically, ‘Nigga’ is a key phrase that is right now used usually amongst ‘black’ people, to become term of friendly salutation and even empowerment; it is comedians, rappers and hip hop entertainment that have created this task. However , what Rock will with the expression is provide the term a bad perception to stress distinctions between social teams regardless of their very own race.

Terms such as, ‘Nigger’, ‘fuck’ and ‘shit’, are generally known to be censored words, taboo words, words that when utilized today in a western culture become connected with ideas of encounter and politeness. (Goffman, 1967; Brown & Levinson, 1978) Face-saving opinions of politeness start from this kind of idea that individuals are logical agents who also are conscious of their dialect choices.

(Brown & Levinson, 1987; Clark simon, 1996; Grice, 1975; Locher, 2004) Both equally interacting individuals, for example They would and H, would have any in maintaining every other’s encounter but often times have to commit to face-threatening-acts. (Brown & Levinson, 1987) Face threatening serves can warned the independence of ‘H’s’ face plus the face requirements of ‘S’s, (Locher, 2004: 66) pertaining to this concept, when ever Rock uses racist presentation and taboo language he puts his own confront at risk, which usually knowingly as being a comedian it is just a risk that threatens the involvement with their face.

Once Rock uses commonly read taboo dialect, there is a bigger chance, as it has been heard before, the audiences’ encounter needs are certainly not jeopardised, however when using ethnic speech, as an example when Rock makes reference to the ‘KKK’, we have a possibility that face requirements are endangered, whether that be the African-American community or the white colored community; it appears Rock knew that his language employ would endanger the face needs of several of his audience members because near the end of his performance this individual exclaims, ‘Man, why you got to say that? ¦ It’s not us, it is the media. The media offers distorted our image to create us appearance bad.

Why must you drop on us like that close friend? It’s certainly not us, it’s the media. ‘ (Rock, 1996) Rock with this sense does not blame the media intended for the damaged behaviour of what he calls ‘Niggas’, he blames the cohort minority that are giving African-Americans a bad popularity. However to oppose this kind of analogy Truck Dijk (1992: 513) tooth brushes upon racism in the press and offers illustrations to emphasis the tips that are displayed within the ‘black’ community. ‘We have racism too ” and that is precisely what is behind the plot. It is not necessarily white racism. It is dark-colored racism¦ Yet who is there to protect the white vast majority?

¦ Each of our tolerance can be our power, but we can not allow anyone to turn it in to our disadvantages. ‘(Sun, twenty four October) The black community do come with an arguable level when sense face-threatened by simply Rocks notion of Black people versus Niggas, because clear proof of discrimination is shown within Newspaper articles such as these, yet Rock emphasises that it is the unruly, uneducated, minority of black people who are supplying the community a poor name, then he puts himself in the shoes of a white colored person, comedic irony once again, by being part of the KKK and feeling threatened during the night when pulling money out ‘at the money machine’.

Precisely what is so primary about the article above is definitely the correlation in language used in Rocks starting performance plus the beginning of the article, two very similar introductions with two very different intentions and it may be recognized potentially simply by some members of Stones audience that it was interpreted in ways that are incongruence to content articles such as these, content which are in denial of racism.

The controversy brought on by Rocks increased use of the term ‘Nigga’ led him to take out the part from his act; Jay Washington (2012) stated that in a 62 minute interview Rock said, ‘By how, I’ve by no means done that joke again, ever, and I probably hardly ever will. Cos some people which were racist believed they had license to say nigger. So , Now i’m done with that routine. ‘ 4. 0 Cultural Effect The ethnic impact of Rock’s mil novecentos e noventa e seis performance of Niggas vs .

Black persons has been a great pragmatic one, Barack Obama made mention of the his skit in a Father’s Day presentation in 08, it also produced television since ‘The office’ did a censored take on the monologue and audience members seeing his mil novecentos e noventa e seis performance even now will have a good laugh at his Ironic satire sketch. My spouse and i certainly do, although Mountain removed the piece via his action due to ‘overusing’ the word ‘N’ word, his hidden purpose was professional. Rock was trying to give this expression a new which means, eradicating its history of disregard, he was aiming to stop stereotypes of African-American people and push restrictions of the ideological perceptions inside the audience.

Rock’s intention was going to unveil a concealed truth, a truth which may be covered up by fear but has to be defeated with laughter. (2. 0) Why exactly should Rock certainly not use this word and make an attempt to give it another type of connotation, his ancestors had been victims of slavery, his parents had been victims of discrimination and ridicule why should he not really poke fun at authentic racists by empowering the tern ‘Nigger’ and supplying hardworking African-Americans the words to be disassociated with the word?

A reference point cited by Gray and Putnam (2009: 23), is actually a quote that correlates with my notion, Elizabeth Ludwig states, ‘[c]learly, if humor is a manifestation of abjection, then it should be an expression of your respective own abjection. ‘ Personally i think Rock exerts his right to use this term, despite their negative mass media responses. It can be true racists that observed this sketch and experienced that discrimination against dark-colored people was now satisfactory, which is a disgrace because I believe what Mountain intended to do was try to educate the thoughts of folks that were of various ethnicities and it seems that the minority of such different ethnic groups but let them down.

Dirt main goal was to focus on minority teams and provide their focus on antiquated ideas of stereotyping. 5. 0 Conclusion Rock is a linguistic comedic prodigy; he looks racism go on and delivers his articles in such a confident manner that he encapsulates the audience and brings cathartic laughter coming from a masochistic inheritance. He draws upon truths, promotes ideological boundaries and enables racial conversation; this language use constructs a distinctive identity of functioning class African-Americans which is segregated from the fraction of bunch culture which can be influenced by simply bad habit.

Although the term nigger is used in a way that contradicts is ideological meaning and portrays great perceptions of working course African American people, the term may be portrayed in another way from several perspectives in the audience. ‘I think folks who use the term nigger inside their speech should certainly bear the chance that listeners overhearing them will not understand their intentions.

‘ (Kennedy, 2002: 146) The truth about the ‘N’-word is the fact even as a euphemism the definition of should still be redundant due to historical context, the way the word has been empowered increases nothing but great attributes even so I feel the connotative background foreshadows the use and no matter who also attempts to manipulate its that means its background will always continue to be. References Darkish, P, & Levinson, T. (1987) Respect. Cambridge: Cambridge U. L. Chung, L. (2002) The responsibility of Fun: Chris Mountain fights lack of knowledge his method.

In ‘The booth award essays’ http://bootheprize. stanford. edu/0102/PWR-Chung. pdf Clark simon, H, H. (2006) Applying Language. Cambridge: Cambridge University or college Press. Crenshaw, A. The Cosby Demonstrate changes just how blacks happen to be viewed. http://www. shenet. org/high/hsacaddept/English/ddayton/Documents/Media/Stereotypes/Cosby%20Show%20Article. pdf Daniels, T. (1989) The colour dark. British Film institute; London, uk. Goffman, At the. (2005) Discussion Ritual: Works In Face-To-Face Behavior. New Brunswick: In. J. Kennedy, R. (2002) Nigger.

Vintage Books: UNITED STATES. Locher, M, A. (2004) Power and Politeness for: Disagreements in Oral Communication. Walter para Gruyter GmbH & Co. KG: Duessseldorf. Van Dijk, T. (1992) Discourse plus the denial of racism. Sage Publications Limited. Washington, L. (2012) Comic Chris Rock and roll sparks controversy with Independence Day tweet. http://educatedinsanity. com/2012/07/06/comedian-chris-rock-sparks-controversy-with-independence-day-tweet/ Wisniewski, K. A. (2009) The humor of Dork Chappelle: essential essays. McFarland; USA.


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