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"content": "\u003cp>Veteran comedians know all about the funny side of anger.\u003c/p>\n\u003cp>The late George Carlin wrote an entire bit called \"\u003ca href=\"https://www.youtube.com/watch?v=wBw14SVVQTI\">Free-Floating Hostility\u003c/a>.\" Jerry Seinfeld once declared in the \u003ca href=\"https://www.latimes.com/style/la-mag-nov302008-theear-story.html\">Los Angeles Times\u003c/a> that \"All comedy starts with anger.\"\u003c/p>\n\u003cp>The rant is often a comedian's sharpest tool, whether it's the screams of the late Sam Kinison or the tirades of \u003ca href=\"https://www.youtube.com/watch?v=CrabeOMyXAc\">Chris Rock\u003c/a>—like \"Stop telling your kids they're special!\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/689926199/696172557\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/12/02/672758694/comedian-mo-amer-takes-his-the-refugee-experience-to-netflix\">Comic Mo Amer\u003c/a> has plenty to be angry about—he's spent pretty much his whole life trying to explain his identity. Mo is short for Mohammed (as he says, it's the most popular name in the world, but try finding a personalized keychain anywhere); Amer was born in Kuwait to Palestinian parents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he was 9 years old, his family had to flee the country during the Gulf War; eventually, they settled in Texas. Then, when Amer was 14, his father died.\u003c/p>\n\u003cp>\"I was angry that I didn't get time with him,\" Amer says. \"There was anger for having very little semblance of family life, and everybody split up and everybody is in different parts of the world because war sucks.\"\u003c/p>\n\u003cp>Amer found that stand-up comedy was a perfect outlet for his frustrations. Much of his material comes from his experiences as an immigrant from the Middle East—and, as he tells it, traveling internationally can be a nightmare. For years, his only form of identification was a refugee travel document.\u003c/p>\n\u003cp>In his Netflix special, \u003cem>The Vagabond\u003c/em>, he re-creates a heated conversation he had with a customs official who refused to accept it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QviPgC3Vmms\u003c/p>\n\u003cp>\"Stand-up, why I love it so much, because it's—you get paid for doing therapy,\" Amer says. \"So that was part of my coping process.\"\u003c/p>\n\u003cp>Another part is feedback from the audience. Amer says he got a standing ovation for an early performance of that bit about international travel.\u003c/p>\n\u003cp>\"It was one of those moments I was like, 'Oh, this is what it's all about,' \" he says.\u003c/p>\n\u003cp>Turning pain into belly laughs is not easy, says Noam Dworman, who owns the renowned New York club the Comedy Cellar. He says Amer is one of the few who can elicit joyous laughter out of pain.\u003c/p>\n\u003cp>\"The thing about Mo is that he has this background of incidents in his life that would cause resentment in somebody,\" Dworman says. \"But the way he presents it is with such charm and appeal that it's endearing, you know, people adore him. They love him.\"\u003c/p>\n\u003cp>Stand-up comedians have long used pain, anger and hurt to get a laugh, whether it's Kinison's screams of outright rage, or the self-deprecating sarcasm of the late Phyllis Diller recounting a story of her husband getting up and putting on his work clothes after she asked him to kiss her goodnight.\u003c/p>\n\u003cp>And stand-up can be as much of a coping mechanism for audiences as it is for comics. People have sought relief from fools and jesters as far back as the Middle Ages.\u003c/p>\n\u003cp>In his 1962 book \u003ca href=\"https://www.amazon.com/Heroes-Villains-Fools-Changing-Character/dp/1412853583\">Heroes, Villains, and Fools\u003c/a>, sociologist Orrin E. Klapp wrote that the clever fool is the \"safety valve ... by which societies release tensions that might otherwise be damaging.\" In other words, the communal belly laugh can be cathartic, whether it's about serious issues or spilled milk.\u003c/p>\n\u003cp>Sophie Quirk, author of the book \u003ca href=\"https://www.amazon.com/Why-Stand-up-Matters-Comedians-Manipulate/dp/1472578929\">Why Stand-up Matters\u003c/a>, is a senior lecturer in drama and theater at the University of Kent in the U.K.. She says the comedy club offers jokes, social criticism and what she calls a \"bonding experience.\"\u003c/p>\n\u003cp>\"There are some comedians who I actively want to see when something happens that makes me angry, say, politically,\" Quirk says. \"And the people around me are going to be expressing—through their laughter and their groans and their boos and whatever—it might be a real empathy with how I'm feeling about it.\"\u003c/p>\n\u003cp>Anger is, of course, just one emotion a performer needs to conjure up to really connect with the audience. \"Some of my jokes come from empathy, too,\" Amer says.\u003c/p>\n\u003cp>Sandra Bernhard, whose sneers are legendary, agrees that a performer needs to tap into a range of emotions on stage. But she says anger is like fuel.\u003c/p>\n\u003cp>\"Anger is energy,\" Bernhard says. \"And I think you've got to be able to access that side of your psyche and be able to fully express yourself within the confines of it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Within the confines of a comedy club, tension—or the release of it—is part of what you pay for.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Get+Paid+For+Doing+Therapy%27%3A+Stand-Up+Comedians+On+Anger&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Veteran comedians know all about the funny side of anger.\u003c/p>\n\u003cp>The late George Carlin wrote an entire bit called \"\u003ca href=\"https://www.youtube.com/watch?v=wBw14SVVQTI\">Free-Floating Hostility\u003c/a>.\" Jerry Seinfeld once declared in the \u003ca href=\"https://www.latimes.com/style/la-mag-nov302008-theear-story.html\">Los Angeles Times\u003c/a> that \"All comedy starts with anger.\"\u003c/p>\n\u003cp>The rant is often a comedian's sharpest tool, whether it's the screams of the late Sam Kinison or the tirades of \u003ca href=\"https://www.youtube.com/watch?v=CrabeOMyXAc\">Chris Rock\u003c/a>—like \"Stop telling your kids they're special!\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/689926199/696172557\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/12/02/672758694/comedian-mo-amer-takes-his-the-refugee-experience-to-netflix\">Comic Mo Amer\u003c/a> has plenty to be angry about—he's spent pretty much his whole life trying to explain his identity. Mo is short for Mohammed (as he says, it's the most popular name in the world, but try finding a personalized keychain anywhere); Amer was born in Kuwait to Palestinian parents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he was 9 years old, his family had to flee the country during the Gulf War; eventually, they settled in Texas. Then, when Amer was 14, his father died.\u003c/p>\n\u003cp>\"I was angry that I didn't get time with him,\" Amer says. \"There was anger for having very little semblance of family life, and everybody split up and everybody is in different parts of the world because war sucks.\"\u003c/p>\n\u003cp>Amer found that stand-up comedy was a perfect outlet for his frustrations. Much of his material comes from his experiences as an immigrant from the Middle East—and, as he tells it, traveling internationally can be a nightmare. For years, his only form of identification was a refugee travel document.\u003c/p>\n\u003cp>In his Netflix special, \u003cem>The Vagabond\u003c/em>, he re-creates a heated conversation he had with a customs official who refused to accept it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QviPgC3Vmms'\n title='//www.youtube.com/embed/QviPgC3Vmms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Stand-up, why I love it so much, because it's—you get paid for doing therapy,\" Amer says. \"So that was part of my coping process.\"\u003c/p>\n\u003cp>Another part is feedback from the audience. Amer says he got a standing ovation for an early performance of that bit about international travel.\u003c/p>\n\u003cp>\"It was one of those moments I was like, 'Oh, this is what it's all about,' \" he says.\u003c/p>\n\u003cp>Turning pain into belly laughs is not easy, says Noam Dworman, who owns the renowned New York club the Comedy Cellar. He says Amer is one of the few who can elicit joyous laughter out of pain.\u003c/p>\n\u003cp>\"The thing about Mo is that he has this background of incidents in his life that would cause resentment in somebody,\" Dworman says. \"But the way he presents it is with such charm and appeal that it's endearing, you know, people adore him. They love him.\"\u003c/p>\n\u003cp>Stand-up comedians have long used pain, anger and hurt to get a laugh, whether it's Kinison's screams of outright rage, or the self-deprecating sarcasm of the late Phyllis Diller recounting a story of her husband getting up and putting on his work clothes after she asked him to kiss her goodnight.\u003c/p>\n\u003cp>And stand-up can be as much of a coping mechanism for audiences as it is for comics. People have sought relief from fools and jesters as far back as the Middle Ages.\u003c/p>\n\u003cp>In his 1962 book \u003ca href=\"https://www.amazon.com/Heroes-Villains-Fools-Changing-Character/dp/1412853583\">Heroes, Villains, and Fools\u003c/a>, sociologist Orrin E. Klapp wrote that the clever fool is the \"safety valve ... by which societies release tensions that might otherwise be damaging.\" In other words, the communal belly laugh can be cathartic, whether it's about serious issues or spilled milk.\u003c/p>\n\u003cp>Sophie Quirk, author of the book \u003ca href=\"https://www.amazon.com/Why-Stand-up-Matters-Comedians-Manipulate/dp/1472578929\">Why Stand-up Matters\u003c/a>, is a senior lecturer in drama and theater at the University of Kent in the U.K.. She says the comedy club offers jokes, social criticism and what she calls a \"bonding experience.\"\u003c/p>\n\u003cp>\"There are some comedians who I actively want to see when something happens that makes me angry, say, politically,\" Quirk says. \"And the people around me are going to be expressing—through their laughter and their groans and their boos and whatever—it might be a real empathy with how I'm feeling about it.\"\u003c/p>\n\u003cp>Anger is, of course, just one emotion a performer needs to conjure up to really connect with the audience. \"Some of my jokes come from empathy, too,\" Amer says.\u003c/p>\n\u003cp>Sandra Bernhard, whose sneers are legendary, agrees that a performer needs to tap into a range of emotions on stage. But she says anger is like fuel.\u003c/p>\n\u003cp>\"Anger is energy,\" Bernhard says. \"And I think you've got to be able to access that side of your psyche and be able to fully express yourself within the confines of it.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Within the confines of a comedy club, tension—or the release of it—is part of what you pay for.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27You+Get+Paid+For+Doing+Therapy%27%3A+Stand-Up+Comedians+On+Anger&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How 'Bring The Pain' Changed Chris Rock's Life Forever",
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"content": "\u003cp>Before the Emmy and Grammy awards, before hosting the Academy Awards and before earning status as one of the best stand-up comics of his generation, Chris Rock had nearly fallen out of big-time show business.\u003c/p>\n\u003cp>Back in the early 1990s, Rock was known mostly a protege of Eddie Murphy who got fired from S\u003cem>aturday Night Live\u003c/em>, worked as a stand-up comic and popped up in movies like \u003cem>New Jack City\u003c/em> and \u003cem>CB4\u003c/em>. Another brother who almost made it.\u003c/p>\n\u003cp>Then came \u003ca href=\"https://www.imdb.com/title/tt0200529/?ref_=nv_sr_1\">\u003cem>Bring the Pain\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a5GfY_CIiwA\u003c/p>\n\u003cp>That's the name of the 1996 HBO stand-up comedy special that helped redefine Rock in the eyes of the world. In the space of an hour, he went from \"that kid who acts like a watered-down Eddie Murphy\" to the straight-up voice of a generation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now A&E is airing a documentary Monday that explains how Rock's transformation happened. And then some.\u003c/p>\n\u003cp>Directed by Emmy-winning TV host and stand-up comic \u003ca href=\"https://www.kqed.org/pop/104402/w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough\">W. Kamau Bell,\u003c/a> \u003cem>Chris Rock's Bring the Pain\u003c/em>, is the latest and most interesting film in A&E's Cultureshock series—a collection of documentaries about pivotal moments in pop culture.\u003c/p>\n\u003cp>It's a look at how Rock crafted the special that would redefine his stage persona and turn him into a major star. But it also tells the story of how a young, black comic—who looked like he had missed out on the 1990s-era black comedy renaissance embodied by \u003ca href=\"https://www.kqed.org/pop/98212/heres-why-bruno-mars-and-cardi-b-want-you-to-watch-in-living-color\">\u003cem>In Living Color\u003c/em>\u003c/a> and \u003cem>Def Comedy Jam\u003c/em>—put his finger right on the pulse of what everyone was feeling at the time, especially in black America.\u003c/p>\n\u003cp>W. Kamau Bell had an underappreciated late night show on FX (and, later, FXX) that was executive produced by Rock. Now he hooks up his former TV godfather with an insightful and surprising documentary. From the people he gets on camera—Oprah! Ava DuVernay! Conan O'Brien! Trevor Noah! Martin Lawrence! Wanda Sykes!—to the stories he digs up, Bell delivers a film that's partly a tutorial on a comedian's process, partly a look at black stand-up comedy in the '90s, and partly a window into the evolution of a major comedic talent.\u003c/p>\n\u003cp>The film is surprising at times. For example: we have, of all people, shock comic Andrew \"Dice\" Clay to thank for the awesomeness that was \u003cem>Bring the Pain\u003c/em>.\u003c/p>\n\u003cp>Rock says early in the documentary that he ran into Clay at a department store—okay, in the men's underwear section—and revealed he was ambivalent about the HBO special he was developing. Clay told him to go home and watch the film \u003cem>Rocky\u003c/em>—the story of an underdog boxer vying for the heavyweight title—to remember why he got into comedy in the first place. Because back then, a stand-up special on HBO was a world-shaking opportunity.\u003c/p>\n\u003cp>That story embodies what works best about this documentary: its honesty. Rock himself admits it took Clay's words to help him focus. Later, he tells how opening act Martin Lawrence blew him off the stage during a stand-up gig, convincing him he needed to raise his game as a performer.\u003c/p>\n\u003cp>Prowling the stage with his trademark intensity, Rock took the stage for \u003cem>Bring The Pain\u003c/em> in Washington D.C. before a mostly black crowd. He kicked things off by making fun of the city's popular mayor, Marion Barry, who had been caught on a videotape smoking crack. Marveling at how Barry showed up at Louis Farrakhan's massive event to uplift black men, The Million Man March, Rock said, \"even in our finest hour...we had a crackhead onstage.\"\u003c/p>\n\u003cp>The crowd went wild, with half the audience laughing and half pushing back. \"Boo if you want,\" Rock added a second later. \"You know I'm right.\"\u003c/p>\n\u003cp>Yup. It was going to be \u003cem>that\u003c/em> kind of evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mTMif8cGlcE\u003c/p>\n\u003chr>\n\u003cp>A lot of stand-up routines from the '80s and '90s don't age well—see Eddie Murphy's jokes about getting frisked by gay policemen, for example. But Rock's most incendiary bits from \u003cem>Bring the Pain\u003c/em> are on an entirely different level of \u003cem>I can't believe we laughed at that back then.\u003c/em>\u003c/p>\n\u003cp>One classic bit involves the racial unrest following O.J. Simpson's 1995 acquittal for the murder of his ex-wife Nicole Brown and her friend Ron Goldman. \"Black people too happy, white people too mad,\" he said. \"I ain't seen white people that mad since they canceled M*A*S*H.\"\u003c/p>\n\u003cp>Rock ticks off reasons Simpson might have gotten angry with Brown—she may have allowed Goldman to drive a car Simpson bought her, for instance—ending with the punchline \"I'm not saying he should have killed her. But I understand.\"\u003c/p>\n\u003cp>These days, we know suggesting abuse victims contributed to their abuse is inaccurate and unfair. Even Wanda Sykes—who has trampled a few boundaries herself for a laugh or two—thinks differently about that punchline now. \"I laughed at the time, but, damn man, that's somebody's family,\" she says in the documentary. \"To say that you understand?...Ouch.\"\u003c/p>\n\u003cp>That was Rock's power: to deliver a joke that was funny, but also articulated an idea that many people might think, but never say out loud. If it was centered on an uncomfortable insight about race or gender, all the better. And nothing encapsulated that better than the climax of his show, a bit called \"\u003ca href=\"https://www.youtube.com/watch?v=f3PJF0YE-x4\">n***** vs black people\u003c/a>.\"\u003c/p>\n\u003cp>Rock set it up as a struggle between black people who are responsible and functional and n*****, who ruin things by being lazy, violent and destructive.\u003c/p>\n\u003cp>\"It's like a civil war going on with black people and there two sides: there's black people and there's n*****,\" Rock said onstage. \"And n***** have got to go.\"\u003c/p>\n\u003cp>At a time when gangsta rap was taking over pop culture—and especially black youth culture—Rock defined the uneasy conflict among black people with a cutting confidence. Small wonder, according to the film, that rapper Tupac Shakur tried to pick a fight with Rock after this routine hit big.\u003c/p>\n\u003cp>\"n***** always want some credit for some s--- they're supposed to do,\" he said at one point. \"A n**** will say...'I take care of my kids.' You supposed to, you dumb m-----f-----. What kind of ignorant s--- is that?\"\u003c/p>\n\u003cp>These days, critics might call that respectability politics—the idea that, to succeed in America, black folks just need to act better. Even in the 1990s, that bit wouldn't have worked in front of a mostly white crowd, where the laughter might have felt like an affirmation of the things bigots have been saying about black people for a long while.\u003c/p>\n\u003cp>But in the space Rock created for \u003cem>Bring the Pain\u003c/em>, this mostly black crowd laughed along with a bitter truth: Yeah, the system oppresses black people every day in every way. But people also make choices that can play into longstanding stereotypes and deserve some criticism. The bit allowed black people space to cast shade on some negative things celebrated in black pop culture. Acknowledging that tension—with laughter—in a space where there was no danger of nearby white people saying \"I knew it!\", was a powerful moment for 1990s television.\u003c/p>\n\u003cp>Still, I don't think Rock could—or should—try to perform a bit like that these days. As powerful as it was then, it still feels too much like stigmatizing a group of people with the worst racial epithet possible based on how respectable they act.\u003c/p>\n\u003cp>And when it moved beyond black audiences to white America—passing from an in-group joke to something shared with the world through HBO—it seemed a bit too much like Rock was giving bigots permission to indulge in situational racism, picking out certain groups of black folks to visit their worst stereotypes upon.\u003c/p>\n\u003chr>\n\u003cp>I remember watching a VHS screener of \u003cem>Bring the Pain\u003c/em> before it aired on HBO; I was blown away by its power. You could see, with his brash attitude, button-pushing material and ability to say things the audience didn't even know they were thinking, Rock had brought a new voice to the world of comedy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>More than anything, Bell's documentary reminds us of that achievement. And how Chris Rock rebounded from some of his biggest setbacks to become a comedy superstar, fueled by the kind of cutting insights about race, society and the cultural moment that no one else could deliver.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+%27Bring+The+Pain%27+Brought+Chris+Rock+Superstar+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the Emmy and Grammy awards, before hosting the Academy Awards and before earning status as one of the best stand-up comics of his generation, Chris Rock had nearly fallen out of big-time show business.\u003c/p>\n\u003cp>Back in the early 1990s, Rock was known mostly a protege of Eddie Murphy who got fired from S\u003cem>aturday Night Live\u003c/em>, worked as a stand-up comic and popped up in movies like \u003cem>New Jack City\u003c/em> and \u003cem>CB4\u003c/em>. Another brother who almost made it.\u003c/p>\n\u003cp>Then came \u003ca href=\"https://www.imdb.com/title/tt0200529/?ref_=nv_sr_1\">\u003cem>Bring the Pain\u003c/em>\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a5GfY_CIiwA'\n title='//www.youtube.com/embed/a5GfY_CIiwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That's the name of the 1996 HBO stand-up comedy special that helped redefine Rock in the eyes of the world. In the space of an hour, he went from \"that kid who acts like a watered-down Eddie Murphy\" to the straight-up voice of a generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now A&E is airing a documentary Monday that explains how Rock's transformation happened. And then some.\u003c/p>\n\u003cp>Directed by Emmy-winning TV host and stand-up comic \u003ca href=\"https://www.kqed.org/pop/104402/w-kamau-bell-on-shades-of-america-and-not-feeling-black-enough\">W. Kamau Bell,\u003c/a> \u003cem>Chris Rock's Bring the Pain\u003c/em>, is the latest and most interesting film in A&E's Cultureshock series—a collection of documentaries about pivotal moments in pop culture.\u003c/p>\n\u003cp>It's a look at how Rock crafted the special that would redefine his stage persona and turn him into a major star. But it also tells the story of how a young, black comic—who looked like he had missed out on the 1990s-era black comedy renaissance embodied by \u003ca href=\"https://www.kqed.org/pop/98212/heres-why-bruno-mars-and-cardi-b-want-you-to-watch-in-living-color\">\u003cem>In Living Color\u003c/em>\u003c/a> and \u003cem>Def Comedy Jam\u003c/em>—put his finger right on the pulse of what everyone was feeling at the time, especially in black America.\u003c/p>\n\u003cp>W. Kamau Bell had an underappreciated late night show on FX (and, later, FXX) that was executive produced by Rock. Now he hooks up his former TV godfather with an insightful and surprising documentary. From the people he gets on camera—Oprah! Ava DuVernay! Conan O'Brien! Trevor Noah! Martin Lawrence! Wanda Sykes!—to the stories he digs up, Bell delivers a film that's partly a tutorial on a comedian's process, partly a look at black stand-up comedy in the '90s, and partly a window into the evolution of a major comedic talent.\u003c/p>\n\u003cp>The film is surprising at times. For example: we have, of all people, shock comic Andrew \"Dice\" Clay to thank for the awesomeness that was \u003cem>Bring the Pain\u003c/em>.\u003c/p>\n\u003cp>Rock says early in the documentary that he ran into Clay at a department store—okay, in the men's underwear section—and revealed he was ambivalent about the HBO special he was developing. Clay told him to go home and watch the film \u003cem>Rocky\u003c/em>—the story of an underdog boxer vying for the heavyweight title—to remember why he got into comedy in the first place. Because back then, a stand-up special on HBO was a world-shaking opportunity.\u003c/p>\n\u003cp>That story embodies what works best about this documentary: its honesty. Rock himself admits it took Clay's words to help him focus. Later, he tells how opening act Martin Lawrence blew him off the stage during a stand-up gig, convincing him he needed to raise his game as a performer.\u003c/p>\n\u003cp>Prowling the stage with his trademark intensity, Rock took the stage for \u003cem>Bring The Pain\u003c/em> in Washington D.C. before a mostly black crowd. He kicked things off by making fun of the city's popular mayor, Marion Barry, who had been caught on a videotape smoking crack. Marveling at how Barry showed up at Louis Farrakhan's massive event to uplift black men, The Million Man March, Rock said, \"even in our finest hour...we had a crackhead onstage.\"\u003c/p>\n\u003cp>The crowd went wild, with half the audience laughing and half pushing back. \"Boo if you want,\" Rock added a second later. \"You know I'm right.\"\u003c/p>\n\u003cp>Yup. It was going to be \u003cem>that\u003c/em> kind of evening.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mTMif8cGlcE'\n title='//www.youtube.com/embed/mTMif8cGlcE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>A lot of stand-up routines from the '80s and '90s don't age well—see Eddie Murphy's jokes about getting frisked by gay policemen, for example. But Rock's most incendiary bits from \u003cem>Bring the Pain\u003c/em> are on an entirely different level of \u003cem>I can't believe we laughed at that back then.\u003c/em>\u003c/p>\n\u003cp>One classic bit involves the racial unrest following O.J. Simpson's 1995 acquittal for the murder of his ex-wife Nicole Brown and her friend Ron Goldman. \"Black people too happy, white people too mad,\" he said. \"I ain't seen white people that mad since they canceled M*A*S*H.\"\u003c/p>\n\u003cp>Rock ticks off reasons Simpson might have gotten angry with Brown—she may have allowed Goldman to drive a car Simpson bought her, for instance—ending with the punchline \"I'm not saying he should have killed her. But I understand.\"\u003c/p>\n\u003cp>These days, we know suggesting abuse victims contributed to their abuse is inaccurate and unfair. 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And nothing encapsulated that better than the climax of his show, a bit called \"\u003ca href=\"https://www.youtube.com/watch?v=f3PJF0YE-x4\">n***** vs black people\u003c/a>.\"\u003c/p>\n\u003cp>Rock set it up as a struggle between black people who are responsible and functional and n*****, who ruin things by being lazy, violent and destructive.\u003c/p>\n\u003cp>\"It's like a civil war going on with black people and there two sides: there's black people and there's n*****,\" Rock said onstage. \"And n***** have got to go.\"\u003c/p>\n\u003cp>At a time when gangsta rap was taking over pop culture—and especially black youth culture—Rock defined the uneasy conflict among black people with a cutting confidence. Small wonder, according to the film, that rapper Tupac Shakur tried to pick a fight with Rock after this routine hit big.\u003c/p>\n\u003cp>\"n***** always want some credit for some s--- they're supposed to do,\" he said at one point. \"A n**** will say...'I take care of my kids.' You supposed to, you dumb m-----f-----. What kind of ignorant s--- is that?\"\u003c/p>\n\u003cp>These days, critics might call that respectability politics—the idea that, to succeed in America, black folks just need to act better. Even in the 1990s, that bit wouldn't have worked in front of a mostly white crowd, where the laughter might have felt like an affirmation of the things bigots have been saying about black people for a long while.\u003c/p>\n\u003cp>But in the space Rock created for \u003cem>Bring the Pain\u003c/em>, this mostly black crowd laughed along with a bitter truth: Yeah, the system oppresses black people every day in every way. But people also make choices that can play into longstanding stereotypes and deserve some criticism. The bit allowed black people space to cast shade on some negative things celebrated in black pop culture. 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You could see, with his brash attitude, button-pushing material and ability to say things the audience didn't even know they were thinking, Rock had brought a new voice to the world of comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than anything, Bell's documentary reminds us of that achievement. And how Chris Rock rebounded from some of his biggest setbacks to become a comedy superstar, fueled by the kind of cutting insights about race, society and the cultural moment that no one else could deliver.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+%27Bring+The+Pain%27+Brought+Chris+Rock+Superstar+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kevin Hart Just Publicly Asked Beyoncé, Jay-Z and More to Send Money to Houston",
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"content": "\u003cp>Harvey is the strongest hurricane to hit Texas in decades, killing at least two, flooding thousands of homes and causing damage reminiscent to that of Katrina 12 years ago, with FEMA administrator Brock Long \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/27/546469418/at-least-one-killed-as-floods-inundate-houston\" target=\"_blank\" rel=\"noopener noreferrer\">telling CNN\u003c/a> the agency is \"gearing up for the next couple years.\" With the National Weather Service \u003ca href=\"https://twitter.com/NWS/status/901832717070983169\" target=\"_blank\" rel=\"noopener noreferrer\">calling\u003c/a> the situation unprecedented and \"beyond anything experienced,\" the U.S. Coast Guard \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/28/546693088/hurricane-harvey-brings-catastrophe-to-texas\" target=\"_blank\" rel=\"noopener noreferrer\">conducting\u003c/a> urban search and rescue in Houston and more rain still to come, people are volunteering to help in rescue operations and pitching in \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/27/546598238/texans-lend-a-helping-hand-as-floods-continue-across-the-state\" target=\"_blank\" rel=\"noopener noreferrer\">wherever possible\u003c/a>.\u003c/p>\n\u003cp>Comedian Kevin Hart asked his famous friends with ample financial means to join a donation daisy chain he began Sunday evening. \"I think we've participated in a lot of challenges on the Internet, some meaningful some meaningless,\" Hart said in an Instagram video. Hart urged eight famous friends — The Rock, Steve Harvey, Chris Rock, Dave Chappelle, Jay-Z, Beyoncé, Justin Timberlake, Jerry Seinfeld — to donate $25,000 each and to call on others to pitch in as well, in order to supply much-needed resources (boats, dry shelters, hygiene kits and food, among many other \u003ca href=\"https://www.dps.texas.gov/dem/Preparedness/emerSupplyKits.htm\" target=\"_blank\" rel=\"noopener noreferrer\">supplies\u003c/a> needed) to those on the ground.\u003c/p>\n\u003cp>https://www.instagram.com/p/BYUKlyPj9Fw/?taken-by=kevinhart4real\u003c/p>\n\u003cp>Beyoncé, a Houston native, shared \u003ca href=\"https://www.instagram.com/p/BYUY2sDg47b/\">a message\u003c/a> of sympathy on Instagram late Sunday evening for those affected. Many others have expressed emotional support for residents of affected areas as well, including \u003ca href=\"https://www.instagram.com/p/BYVP8q4DVVq/\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BYT91O_Al9b/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Rowland\u003c/a> (also a Houston native), \u003ca href=\"https://twitter.com/diddy/status/902005792513064960\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Combs\u003c/a>, \u003ca href=\"https://twitter.com/common/status/902037580270641152\" target=\"_blank\" rel=\"noopener noreferrer\">Common\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BYUBkuWAemc/\" target=\"_blank\" rel=\"noopener noreferrer\">Meek Mill\u003c/a> and others.\u003c/p>\n\u003cp>https://www.instagram.com/p/BYUY2sDg47b/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amazon announced it would match donations made through its website \u003ca href=\"https://www.amazon.com/l/16927356011\">up to $1 million\u003c/a>. Apple is also accepting donations through its iTunes Store, halting the 30 percent commission the company usually takes from sales on the platform.\u003c/p>\n\u003cp>Country musician Chris Young began \u003ca href=\"https://www.gofundme.com/HarveyRelief\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe campaign\u003c/a> for Harvey relief efforts with a $100,000 donation of his own, which has since drawn more than $43,000 more from 595 additional donations. Lady Antebellum also announced it would be donating merch profits to relief efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I have friends and family there and I'm almost certain my house down there may have to be torn down as it was in one of the areas that was hardest hit by winds and flooding,\" wrote Young.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Celebrities+And+Companies+Pitch+In+To+Harvey+Relief+Effort&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harvey is the strongest hurricane to hit Texas in decades, killing at least two, flooding thousands of homes and causing damage reminiscent to that of Katrina 12 years ago, with FEMA administrator Brock Long \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/27/546469418/at-least-one-killed-as-floods-inundate-houston\" target=\"_blank\" rel=\"noopener noreferrer\">telling CNN\u003c/a> the agency is \"gearing up for the next couple years.\" With the National Weather Service \u003ca href=\"https://twitter.com/NWS/status/901832717070983169\" target=\"_blank\" rel=\"noopener noreferrer\">calling\u003c/a> the situation unprecedented and \"beyond anything experienced,\" the U.S. Coast Guard \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/28/546693088/hurricane-harvey-brings-catastrophe-to-texas\" target=\"_blank\" rel=\"noopener noreferrer\">conducting\u003c/a> urban search and rescue in Houston and more rain still to come, people are volunteering to help in rescue operations and pitching in \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/27/546598238/texans-lend-a-helping-hand-as-floods-continue-across-the-state\" target=\"_blank\" rel=\"noopener noreferrer\">wherever possible\u003c/a>.\u003c/p>\n\u003cp>Comedian Kevin Hart asked his famous friends with ample financial means to join a donation daisy chain he began Sunday evening. \"I think we've participated in a lot of challenges on the Internet, some meaningful some meaningless,\" Hart said in an Instagram video. Hart urged eight famous friends — The Rock, Steve Harvey, Chris Rock, Dave Chappelle, Jay-Z, Beyoncé, Justin Timberlake, Jerry Seinfeld — to donate $25,000 each and to call on others to pitch in as well, in order to supply much-needed resources (boats, dry shelters, hygiene kits and food, among many other \u003ca href=\"https://www.dps.texas.gov/dem/Preparedness/emerSupplyKits.htm\" target=\"_blank\" rel=\"noopener noreferrer\">supplies\u003c/a> needed) to those on the ground.\u003c/p>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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