Dave Chappelle Satire

Dave Chappelles comedy has made legion(predicate) aspects of American race relations and racial stereotypes subject to ridicule in a manner that has both linked and divided. On nonpareil hand, his name became synonymous with comedy for the younger generations on the other, his values caused him to question his own comedy, leading him to effectively terminate his c areer. In the Wake of The Nigger Pixie Dave Chappelle and the Politics of Crossover Comedy by Bambi Haggins demonstrates that Chappelles comedic ardour is the result of numerous elements of comedy in the African American alliance coming to buzz offher and that it came ab forth as a result of his experiences. It gives and expands upon the reasons that Chappelle left(a) Chappelles Show and presents them in an optimal setting.Chappelles roots are established as guiding him through and through his comedic career, his desire to share his comedy with the masses without cooperative the tastes of the networks or what they w ould think would be palatable to their audiences. Haggins synopsis of Chappelles comedic style for the era of Chappelles Show explains how Chappelle was able to blend older styles of African American comedy into his unique comedic style by victimization his subjectes to support her claims.Haggins knows how to blend this multifariousness artfully into an essay piquing the interest of others on the topic of Chappelles career and comedic style. Haggins begins the chapter with a quick explanation of why Chappelle eventually left the show. Chappelle explains that the loud and pertinacious laughter (233), emanating from one of the white crew members was the beginning of the end (233) for him. This depicts the age in his life when he started to think that rather then diluting them, his skits sometimes reinforce these stereotypes.Something he never intended to do. The biggest thing that separated Chappelles show from the rest is his seamless ability to achieve the de facto crossover systematically in his show. His gift at portraying stereotypes and fond conflicts while appealing to a wider audience is what led him to the top of sketch comedy. But this soon becomes problematic for him as he struggled with himself to decide what was crossing the line. As his succeeder gave him the ability the push the line even farther, it likewise reminded him how important it was to non cross the line.Another big factor that provided Chappelle with the chance he needed to rattling show everyone what he could do is by taking a danger with Comedy central. The Chappelles Show co-creator Neal Brennan explains, We went to a place, Comedy rudimentary, that sort of necessitate us and gave us a lot of freedom. We didnt get much money, but that was the trade-off-you get control (236). This gave Chappelle the ability to r distributively a wide audience while still having the control of the material that goes into each show, thus promoting his real comedic self and rocketing him to success and fame.While staying at the top Chappelle eer was balancing on a delicate line, Chappelles show walked the shave edge of provocative comedic sociopolitical discourse (237). Haggins in depth analysis of both his argument and Chappelles descent into racial stereotyping is prevalent through his specific examples of the comedians sketches and then providing commentary about the imagination as a whole. In his article, the author uses Chappelles Racial selective service, Black Bush, and Nigger Pixie as clear cases where racial satire went too far. The author begins with Chappelles background and his emergence into the goggle box world.This is an effective rhetoric strategy because it allows the audience to see Dave Chappelle before the Chappelles Show. However, if one reads closely, they can clearly tell that Chappelle had never changed throughout his days of comedy and kept the openness and smoothity(236) in his comic persona. Haggins also points out the element that the comedian always had an ability to attract viewers from all areas and speak for and to Gen X and Gen Y subcultures in both downhearted and white communities (234). This was especially evident in Chappelles Show and added greatly to its popularity.Finally, the method in which the author used examples by including specific skits in the Lost Episode where Dave Chappelle went beyond boundaries to point out the racial stereotypes that are present in everyday life is very effective. Through his fluid diction and terrific explanation of each skit, Haggins is able to paint a picture in words for the reader. When reading the article and each sketch that Chappelle acted out, the audience can clearly see that the comedians racial satire was humorous, yet lie awfully close to the reinforcement of racial stereotyping.This is the reason the Nigger Pixie sketch example is so significant. By playing a black-faced minstrel, Chappelle only emphasized the idea of harsh racial discrimination and the stereotypical black want for fried chicken. The author analyzes how numerous comedic styles from the African American community coalesced on Chappelles Show by using specific sketches as supporting evidence. One example, Haggins analysis of the Reparations sketch (Haggins 240-241), demonstrates that numerous styles blended quite clearly.Her use of the sketch, which describes the ludicrous amount of economic successfulness that would occur if reparations for slavery were given to the descendents of formerly enslaved African Americans (Haggins 240), outlines how the white media (Haggins 240) would report much(prenominal) an occurrence, and that while the sketch offers a cringe-worthy embodiment of stereotypes, it (somewhat) congenially calls the audience out while also acting as a reminder of the materialization of reparations for the legacy of slavery that still informs aspects of the African American experience (Haggins 241).Her presentment of the older styles of African Ameri can comedy coming together one one television program was effective. After all of this occurred and Comedy Central aired the shows despite the wished of Chappelle, he found it impossible to continue his blood with Comedy Central and he left the show.The argument made throughout the chapter is further solidified in the end when Haggins states, As long as the assumptions implied by the race-baiting little demons (the Nigger Pixie and his brethren) resonate in the orphic recesses of popular consciousness-not as critique but as confirmation-the road for social satire, regardless of media outlet-will be arduous (248). To revisit what was discussed earlier, as long as racism exists, doing racial satire will be problematic (248).