Providing new insight into key debates over race and representation in the media, this ethnographic study explores the ways in which African Americans have been depicted in Black situation comedies-from 1950's Beulah to contemporary series like Martin and Living Single.

In the late 1920s and '30s Lincoln Perry, aka Stepin Fetchit, was both renowned and reviled for his surrealistic portrayals of the era’s most popular comic stereotype–the lazy, shiftless Negro. Perry was hailed by critic Robert Benchley as “the best actor that the talking movies have produced,” and Mel Watkins’s meticulously researched and sensitive biography reveals the paradoxes of this pioneering actor’s life, from Perry’s tremendous popularity to his money troubles and rowdy offscreen antics. As later generations come to recognize Perry’s prodigious talent and achievements, in Stepin Fetchit, Mel Watkins brilliantly and definitively illuminates the life and times of a legendary figure in American entertainment.

This comprehensive history of black humor sets it in the context of American popular culture. Blackface minstrelsy, Stepin Fetchit, and the Amos 'n' Andy show presented a distorted picture of African Americans; this book contrasts this image with the authentic underground humor of African Americans found in folktales, race records, and all-black shows and films. After generations of stereotypes, the underground humor finally emerged before the American public with Richard Pryor in the 1970s. But Pryor was not the first popular comic to present authentically black humor. Watkins offers surprising reassessments of such seminal figures as Fetchit, Bert Williams, Moms Mabley, and Redd Foxx, looking at how they paved the way for contemporary comics such as Whoopi Goldberg, Eddie Murphy, and Bill Cosby.

This collection of anecdotes, tales, jokes, toasts, rhymes, satire, riffs, poems, stand-up sketches, and snaps documents the evolution of African American humor over the past two centuries. It includes routines and writings from such luminaries as Bert Williams, Butterbeans & Susie, Stepin Fetchit, Moms Mabley, Ralph Ellison, Langston Hughes, Redd Foxx, Ishmael Reed, Bill Cosby, Richard Pryor, Martin Lawrence, and Chris Rock. This anthology includes classic stage routines, literary examples, and witty quotations presented in their entirety.

Reassessing the meanings of "black humor" and "dark satire," Laughing Fit to Kill illustrates how black comedians, writers, and artists have deftly deployed various modes of comedic "conjuring"--the absurd, the grotesque, and the strategic expression of racial stereotypes--to redress not only the past injustices of slavery and racism in America but also their legacy in the present. Focusing on representations of slavery in the post-civil rights era, Carpio explores stereotypes in Richard Pryor's groundbreaking stand-up act and the outrageous comedy of Chappelle's Show to demonstrate how deeply indebted they are to the sly social criticism embedded in the profoundly ironic nineteenth-century fiction of William Wells Brown and Charles W. Chesnutt. Similarly, she reveals how the iconoclastic literary works of Ishmael Reed and Suzan-Lori Parks use satire, hyperbole, and burlesque humor to represent a violent history and to take on issues of racial injustice. With an abundance of illustrations, Carpio also extends her discussion of radical black comedy to the visual arts as she reveals how the use of subversive appropriation by Kara Walker and Robert Colescott cleverly lampoons the iconography of slavery. Ultimately, Laughing Fit to Kill offers a unique look at the bold, complex, and just plain funny ways that African American artists have used laughter to critique slavery's dark legacy.

In this "dazzling anthology" (Publishers Weekly), Daryl Cumber Dance has collected the often hard-hitting, sometimes risqué, always dramatic humor that arises from the depth of black women's souls and the breadth of their lives. The eloquent wit and laughter of African American women are presented here in all their written and spoken manifestations: autobiographies, novels, essays, poems, speeches, comic routines, proverbial sayings, cartoons, mimeographed sheets, and folk tales. The chapters proceed thematically, covering the church, love, civil rights, motherly advice, and much more.

Edited by the author of The Sellout, winner of the 2016 Man Booker Prize, Hokum is a liberating, eccentric, savagely comic anthology of the funniest writing by black Americans. This book is less a comprehensive collection than it is a mix-tape narrative dubbed by a trusted friend-a sampler of underground classics, rare grooves, and timeless summer jams, poetry and prose juxtaposed with the blues, hip-hop, political speeches, and the world's funniest radio sermon. The subtle musings of Toni Cade Bambara, Henry Dumas, and Harryette Mullen are bracketed by the profane and often loud ruminations of Langston Hughes, Darius James, Wanda Coleman, Tish Benson, Steve Cannon, and Hattie Gossett. Some of the funniest writers don't write, so included are selections from well-known yet unpublished wits Lightnin' Hopkins, Mike Tyson, and the Reverend Al Sharpton. Selections also come from public figures and authors whose humor, although incisive and profound, is often overlooked: Malcolm X, Suzan-Lori Parks, Zora Neale Hurston, Sojourner Truth, and W.E.B. Dubois. Groundbreaking, fierce, and hilarious, this is a necessary anthology for any fan or student of American writing, with a huge range and a smart, political grasp of the uses of humor.