Facebook Share on Facebook Twitter Share on Twitter Email Share via Email LONDON, ENGLAND - OCTOBER 17 EDITORS NOTE - This image has been converted to black and white Dave Chappelle attends the UK premiere of "Dave Chappelle Untitled" at Cineworld Leicester Square on October 17, 2021 in London, England. Photo by Eamonn M. McCormack/Getty Images Editor’s note The following article is an op-ed, and the views expressed are the author’s own. Read more opinions on theGrio. It’s as hard to capture the genius of Dave Chappelle in a short essay as it is to explain the genius of Prince or Miles Davis. These are book-length challenges. But let’s try. Where most comics deal in short bursts of sentences. Chappelle tells long, winding stories that draw you in and keep you on the edge of your seat. He mixes social commentary into his comedy, giving intellectual observations about the world while keeping you laughing. He makes you feel smart for getting his comedy. And he talks a lot about himself in a way that creates a world—you know who the person speaking to you is. I can always go to a comedy show and walk away with a few funny jokes I can tell except if I go see Dave. You can’t repeat his long stories and remember all the callbacks and references. And because so much of his comedy is about himself, how could you tell the joke yourself? I love it when Chappelle, befitting someone in the hip-hop generation, talks about “Chappelle,” a version of himself who is brilliant, rich and such an amazing comedian that he can make a punchline out of anything, but also someone who’s lazy and liable to quit doing something, anything, at a moment’s notice. Chappelle is unapologetically Black—his comedy is Blackcentric and takes full advantage of the ability to make fun of white people and to call out their mistakes. In the way he talks and how he lives his life, Chappelle seems to be free. Years ago, I saw Chappelle perform in Connecticut, days after a show in Detroit had gone badly, and he came out and recounted the story of the bad show and said that he might leave us, too. Like, hey, you never know. It felt like he was someone who was so liberated that he was comfortable walking away from anything if he was uncomfortable. I know Chappelle will walk away from anything because he once walked away from me. In 2005, after Dave Chappelle’s Block Party came out, I flew to Ohio to interview Chappelle for BET. This was after he’d famously quit the legendary Chappelle’s Show. I was asked not to ask about Chappelle’s Show. Of course, I was there to do just that. After 10 minutes of talking about the Block Party, I segued into the brilliance of Chappelle’s Show and how great it was. He seemed uncomfortable at the shift, but I was focused on the show’s greatness, so he let me go there. Then, after 10 minutes of talking about the genius of his show, I asked him about leaving. He shifted uncomfortably in his chair. He lowered his gaze to the floor. He started talking about how we had seen this sort of thing before—he said after Mariah Carey and Martin Lawrence had gotten gigantic deals, they, too, had lost their minds and had public meltdowns. I felt like a therapist on the verge of a breakthrough. I had to ask just a few more questions about him leaving—one of the central cultural events of my generation—but one of my two cameramen announced that we had to stop for a moment because he had to change his battery. Are you kidding? He should have recognized that we were in a delicate moment and done this silently, but no, in an act of total tone-deafness, he announced that we had to stop. As soon as he said it, Chappelle said he needed a cigarette and leaped up from his chair. He walked outside and never came back. As painful as that was personally, I respect Chappelle immensely for being the sort of person who will walk out. In his post-Chappelle’s Show comedy, he talks a lot about refusing to be controlled by capitalism and the institutions that dominate it. He has likened Hollywood to a pimp, making himself a potential prostitute, as a way of explaining why he’s refused to play its game. He publicly called out Netflix, who has paid him about a zillion dollars over the past decade, for streaming Chappelle’s Show when he thought the deal was unfair. Chappelle is fearless onstage and off, willing to sacrifice a lot of money for his freedom and his mental health. I respect the hell out of that. I’m not saying I would’ve done it, but I understand. I think Chappelle’s best standup hour is still “The Age of Spin” because its structure is so brilliant. It’s like there are two countermelodies or counter-rhythms playing off each other as he goes in and out of stories about Simpson, commentary on Bill Cosby and notes on himself. But all of Dave’s specials have been great. He’s got a long, incredible resume of taking comedy into new realms and to me, the comedy GOAT battle is between Chappelle and Richard Pryor. No one else is close to them. There are a lot of similarities between them—Pryor, too, loved great stories. He often added bits of social commentary and talked a lot about himself. Both guys are unapologetically Black and champions for Black people. I have listened to a ton of Pryor’s stand-up work, and I revere him immensely. I love Pryor but I think Chappelle is funnier. I think he’s the greatest of all time. Touré is a host and Creative Director at theGrio. He is the host of the podcast “Toure Show” and the podcast docuseries “Who Was Prince?” He is also the author of seven books, including the Prince biography Nothing Compares 2 U. Look out for his upcoming podcast Being Black In the 80s. TheGrio is FREE on your TV via Apple TV, Amazon Fire, Roku, and Android TV. Please download theGrio mobile apps today!
DoesNetflix, Quickflix, iTunes, etc. stream Dave Chappelle's Block Party? Find where to watch online! Home New Popular Watchlist . Sign In. Watchlist. Seen. Like. Dislike. Sign in to sync Watchlist. Rating. 75% . 7.2 (9k) Genres. Comedy Dave Chappelle is an American stand-up comedian and actor best known for his comedy series Chappelle's Show, which ran from 2003 until 2006. He is considered one of the most influential and popular comedians in the American comedy scene. He lives in Yellow Springs, Ohio with his wife and three children. When he's not on tour or filming his latest comedy special, Chappelle has appeared in several different comedy and drama films, including "A Star Is Born," "The Nutty Professor," "Con Air," "Chi-Raq," "Dave Chappelle's Block Party," "Blue Streak" and "You've Got Mail." He has performed at some of the most famous comedy clubs in the United States, such as the Comedy Store in Los Angeles and Comedy Cellar in New York City. In 2016, Chappelle signed a multi-year deal with Netflix that pays him at least $20 million for every special released on the streaming giant. As of 2022, he has performed seven stand-up specials. In recent years LGBTQ+ activists have attempted to boycott Chapelle's shows and lobby Netflix to remove his content due to jokes about transgender people. The comedian faced the most backlash after the 2021 release of "The Closer," in which he stated, "gender is a fact" and defended "Harry Potter" author Rowling. Recently, a Minneapolis venue canceled his appearance hours before he was due on stage after facing backlash from progressive activists on social media. Employees for Netflix have also condemned Chappelle's comments on the transgender community and staged a walkout at the company's headquarters in Los Angeles. Another employee reportedly leaked confidential information regarding how much the streaming service paid Chappelle for the special. Netflix responded by terminating the employee who allegedly leaked the information and released a statement reaffirming their support for Chappelle despite his controversial opinions. Moreover, the company's CEO told news outlets at the time said Chapelle was the "comedian of our generation."TeleRealite Les Anges 12 Asian Dream Episode 110 du 3 décembre 2020 Replay Streaming Déc 3, 2020 0 Diffusé le Jeudi 3 décembre 2020 à 18h05 sur NRJ12. Découvrir ou revoir Le 110e Episode en intégralité de cette Familles nombreuses La vie en XXL Saison 2 Episode 28 du 3 décembre 2020 Diffusé le Jeudi 3 décembre 2020 à 17h25 sur TF1. Découvrir ou Voir
BROOKLYN, New York - The remnants of Hurricane Ivan may have put a damper on the last weekend of summer, but the rain, clouds and brisk weather could not do the same to the old-fashioned block party Dave Chappelle threw on Saturday.[article id="1491209"]Click here for photos.[/article]For the biggest comedian in the world right now, the secretive neighborhood jam was his Summer of '69, a hip-hop and R&B Woodstock that featured a hit list of his favorite artists, including a surprising reunion of the Fugees, the hip-hop trio that disbanded after their second and last album, The Score, sold 15 million copies worldwide. Lauryn Hill, Wyclef Jean and Pras came together to headline the day-long concert, which was shot by famed film and music-video director Michel Gondry for a likely DVD graced the stage to introduce the Fugees to a crowd that was expecting just a Lauryn Hill solo performance see [article id="1490809"]"Chappelle Throwing A Block Party With Kanye, Lauryn, Others"[/article]. "We were going to have Lauryn Hill perform tonight but Columbia [Records] wouldn't clear her songs," Chappelle said, referring to Hill's record label. "So she came up with a better idea. Ladies and gentleman - the Fugees!"As the thundering bass of Bone Crusher's "Never Scared" blasted through the speakers, Wyclef ran onto the stage, getting the crowd hyped with lines from the Fugees' "Nappy Heads Remix." Moments later, Hill entered the stage, receiving a rousing cheer from the hundreds of fans who had gathered on the L-shaped block in Brooklyn's Fort Greene neighborhood. Wearing a short khaki coat over a flowing white pantsuit and Yankees cap cocked to the side, Hill resembled the performer of old - not the unstable, unkempt artist she's been made out to be in recent verse and the emergence of Pras punctuated "Nappy Heads" and the group's other hits, which included "Fu-Gee-La" and "Ready or Not." When Hill hit her verse on "Ready or Not," the crowd joined in enthusiastically "So while you're imitating Al Capone/ I'll be Nina Simone ..." Though Hill's new work is supposed to be in the singer/songwriter mold, she was all about dropping lyrics on this night, except when she gloriously sang "Killing Me Softly" to minimal accompaniment from the backing reunion's most delicious moment came when Wyclef, standing at a mic with his guitar, told the crowd it was time to put an end to all the rumors. Immediately, the band behind him unleashed the rhythmic stabs of Lauryn Hill's solo cut "Lost Ones," which many have considered to be a veiled declaration of autonomy from Hill toward her former bandmate. "It's funny how money change a situation/ Miscommunication leads to complication/ My emancipation don't fit your equation," she rapped, shoving herself in Wyclef's grill. While Pras and Hill danced around him with mock anger, Wyclef simply held his pose, eyes rolled upwards as he took the faux-abuse. It was a self-aware moment that underscored the genuine bond the three once shared with one good vibes had been in effect throughout the day, starting with opening afternoon sets from Kanye West who left promptly for a show in Chicago later that evening, Freeway and Dead Prez. Erykah Badu and Jill Scott performed back-to-back, their haunting soul songs drifting underneath the overcast skies. Both singers would return to the stage to help the Roots perform "You Got Me" from their 1999 album, Things Fall Apart, and old-school fast-rap icons Big Daddy Kane and Kool G Rap joined the group for classics like "Warm It Up, Kane" and "Poison."Just before the Fugees' set, Mos Def, Talib Kweli and Common joined forces and ripped through a set, ending with a spirited performance of Talib's "Get By" and Mos Def's "Umi Says," both crowd favorites. The Fugees weren't the only folks making up at the block party Common performed his song "The Light" beside Erykah Badu, his former amidst the memorable musical performances, it was Dave Chappelle's day. The block party was his idea, a re-creation of the 1972 Wattstax concert in the Watts neighborhood of Los Angeles that featured R&B, soul and gospel greats of the era. The concert film, which featured the comic narration of Richard Pryor, was recently released on played the funnyman between each set. He dropped a poem "Five thousand black people chillin' in the rain - 19 white people peppered in", challenged a Mohawked man to an MC battle, and sang two songs in character as R. Kelly, satirizing the infamous sex tape that allegedly shows the R&B singer's ritualistic kinky wanting to check out the block party had to go through an intricate process that included registering online and getting e-mailed a secret location to meet in order to be bused to the concert site, which was also kept a secret. In the end, the inclement weather kept many away, but not enough to derail the enthusiasm of the several hundred fans who did show night ended with a freestyle session featuring the Roots' ?uestlove on drums, Cody Chesnutt on guitar and a litany of rappers and singers, plus a final thank you to Dave Chappelle, the man who, for one day, got to live out his own private music more sights and stories from concerts around the country, check out [article id="1488635"]MTV News Tour Reports[/article].
Whilenot providing the laughs of tv's 'The Dave Chappelle Show' (hasn't screened here, but I seen the DVD), the free wheelin', reflective 'Block Party' bursts with positivity and goodwill. The party in question is a free concert held on a street in Brooklyn, New York. Organised by the very kind Chappelle, he enlists performances from the
Guest EssayDave Chappelle’s Brittle EgoOct. 13, 2021Credit...Art StreiberRoxane GayMs. Gay, a contributing Opinion writer, is the editor of “The Selected Works of Audre Lorde” and the author of the memoir “Hunger,” among other generally have the same debates about comedy over and over. Let’s address those upfront Art should be made without restriction. Free speech reigns supreme. Sometimes good art should make us uncomfortable, and sometimes bad people can make good art. Comedians, in particular, are going to punch up and down and true Comedy is not above criticism, even if the most famous, wildly wealthy comedians will keep insulting those who question them. It’s just laughs, right? Lighten up. All criticism is forestalled with this setup, in which when you object to anything a comedian says, you’re the problem. You’re the one who’s narrow-minded or “brittle” or humorless.“Shut up,” Dave Chappelle recalls telling a woman who had the gall to challenge his comedy, using a sexist slur and laughing at how witty he is, as if he’s the first man to ever deliver such an original, funny line. “Before I kill you and put you in the trunk. Ain’t nobody around here.” The audience cheers, before Mr. Chappelle explains that he didn’t in fact threaten the woman “I felt that way, but that’s not what I said. I was more clever than that.”Mr. Chappelle spends much of “The Closer,” his latest comedy special for Netflix, cleverly deflecting criticism. The set is a 72-minute display of the comedian’s own brittleness. The self-proclaimed “GOAT” greatest of all time of stand-up delivers five or six lucid moments of brilliance, surrounded by a joyless tirade of incoherent and seething rage, misogyny, homophobia and there is brilliance in “The Closer,” it’s that Mr. Chappelle makes obvious but elegant rhetorical moves that frame any objections to his work as unreasonable. He’s just being “brutally honest.” He’s just saying the quiet part out loud. He’s just stating “facts.” He’s just making us think. But when an entire comedy set is designed as a series of strategic moves to say whatever you want and insulate yourself from valid criticism, I’m not sure you’re really making the special, Mr. Chappelle is singularly fixated on the community, as he has been in recent years. He reaches for every low-hanging piece of fruit and munches on it gratuitously. Many of Mr. Chappelle’s rants are extraordinarily dated, the kind of comedy you might expect from a conservative boomer, agog at the idea of homosexuality. At times, his voice lowers to a hoarse whisper, preparing us for a grand stroke of wisdom — but it never comes. Every once in a while, he remarks that, oh, boy, he’s in trouble now, like a mischievous little boy who just can’t help buried in the nonsense, is an interesting and accurate observation about the white gay community conveniently being able to claim whiteness at will. There’s a compelling observation about the relatively significant progress the community has made, while progress toward racial equity has been much slower. But in these formulations, there are no gay Black people. Mr. Chappelle pits people from different marginalized groups against one another, callously suggesting that trans people are performing the gender equivalent of the next breath, Mr. Chappelle says something about how a Black gay person would never exhibit the behaviors to which he objects, an assertion many would dispute. The poet Saeed Jones, for example, wrote in GQ that watching “The Closer” felt like a betrayal “I felt like I’d just been stabbed by someone I once admired and now he was demanding that I stop bleeding.”Later in the show, Mr. Chappelle offers rambling thoughts on feminism using a Webster’s Dictionary definition, further exemplifying how limited his reading is. He makes a tired, tired joke about how he thought “feminist” meant “frumpy dyke” — and hey, I get it. If I were on his radar, he would consider me a frumpy dyke, or worse. Some may consider that estimation accurate. Fortunately my wife doesn’t. Then in another of those rare moments of lucidity, Mr. Chappelle talks about mainstream feminism’s historical racism. Just when you’re thinking he is going to right the ship, he starts ranting incoherently about MeToo. I couldn’t tell you what his point was is a faded simulacrum of the once-great comedian, who now uses his significant platform to air grievances against the great many people he holds in contempt, while deftly avoiding any accountability. If we don’t like his routine, the message is, we are the problem, not toxic performance crescendos when Mr. Chappelle shares a heartbreaking story about his trans friend Daphne Dorman, a comedian, who died by suicide — suggesting that if she was fine with his comedy, how dare anyone else have a problem? The story is bittersweet and sometimes funny, and then it is tragic, and the worst part is that Mr. Chappelle is clearly so very pleased with himself when he gets to the punchline. He thinks he has won an argument when really, he is exploiting the death of a friend. For comedy. Of course, we don’t know Ms. Dorman at all; pushing back against this portrayal twists us in an impossible bind. Once more, Mr. Chappelle forestalls any of the strangest but most telling moments in “The Closer” is when Mr. Chappelle defends DaBaby, a rapper in the news for making pretty egregious homophobic remarks, and his fellow comedian Kevin Hart, who once lost an Oscars hosting gig for … making homophobic remarks. Both men faced professional consequences for their missteps, but neither was canceled Mr. Hart remains one of the highest-paid comedians in the world. DaBaby has more than 43 million monthly listeners on the end of his special, Mr. Chappelle admonishes the community one last time, imploring us to leave his “people” alone. If it wasn’t clear from his words, the snapshots of him with his famous pals in the closing credits of “The Closer” make it abundantly clear that Dave Chappelle’s people aren’t men or women or Black people. His people are wealthy celebrities, and he resents even the possibility of them facing consequences for their actions.BeKind Rewind: Directed by Michel Gondry. With Jack Black, Yasiin Bey, Danny Glover, Mia Farrow. Two bumbling store clerks inadvertently erase the footage from all of the tapes in their video rental store. In order to keep the business running, they re-shoot every film in the store with their own camera, with a budget of zero dollars. Facebook Share on Facebook Twitter Share on Twitter Email Share via Email LONDON, ENGLAND - OCTOBER 17 EDITORS NOTE - This image has been converted to black and white Dave Chappelle attends the UK premiere of "Dave Chappelle Untitled" at Cineworld Leicester Square on October 17, 2021 in London, England. Photo by Eamonn M. McCormack/Getty Images Editor’s note The following article is an op-ed, and the views expressed are the author’s own. Read more opinions on theGrio. It’s as hard to capture the genius of Dave Chappelle in a short essay as it is to explain the genius of Prince or Miles Davis. These are book-length challenges. But let’s try. Where most comics deal in short bursts of sentences. Chappelle tells long, winding stories that draw you in and keep you on the edge of your seat. He mixes social commentary into his comedy, giving intellectual observations about the world while keeping you laughing. He makes you feel smart for getting his comedy. And he talks a lot about himself in a way that creates a world—you know who the person speaking to you is. I can always go to a comedy show and walk away with a few funny jokes I can tell except if I go see Dave. You can’t repeat his long stories and remember all the callbacks and references. And because so much of his comedy is about himself, how could you tell the joke yourself? I love it when Chappelle, befitting someone in the hip-hop generation, talks about “Chappelle,” a version of himself who is brilliant, rich and such an amazing comedian that he can make a punchline out of anything, but also someone who’s lazy and liable to quit doing something, anything, at a moment’s notice. Chappelle is unapologetically Black—his comedy is Blackcentric and takes full advantage of the ability to make fun of white people and to call out their mistakes. In the way he talks and how he lives his life, Chappelle seems to be free. Years ago, I saw Chappelle perform in Connecticut, days after a show in Detroit had gone badly, and he came out and recounted the story of the bad show and said that he might leave us, too. Like, hey, you never know. It felt like he was someone who was so liberated that he was comfortable walking away from anything if he was uncomfortable. I know Chappelle will walk away from anything because he once walked away from me. In 2005, after Dave Chappelle’s Block Party came out, I flew to Ohio to interview Chappelle for BET. This was after he’d famously quit the legendary Chappelle’s Show. I was asked not to ask about Chappelle’s Show. Of course, I was there to do just that. After 10 minutes of talking about the Block Party, I segued into the brilliance of Chappelle’s Show and how great it was. He seemed uncomfortable at the shift, but I was focused on the show’s greatness, so he let me go there. Then, after 10 minutes of talking about the genius of his show, I asked him about leaving. He shifted uncomfortably in his chair. He lowered his gaze to the floor. He started talking about how we had seen this sort of thing before—he said after Mariah Carey and Martin Lawrence had gotten gigantic deals, they, too, had lost their minds and had public meltdowns. I felt like a therapist on the verge of a breakthrough. I had to ask just a few more questions about him leaving—one of the central cultural events of my generation—but one of my two cameramen announced that we had to stop for a moment because he had to change his battery. Are you kidding? He should have recognized that we were in a delicate moment and done this silently, but no, in an act of total tone-deafness, he announced that we had to stop. As soon as he said it, Chappelle said he needed a cigarette and leaped up from his chair. He walked outside and never came back. As painful as that was personally, I respect Chappelle immensely for being the sort of person who will walk out. In his post-Chappelle’s Show comedy, he talks a lot about refusing to be controlled by capitalism and the institutions that dominate it. He has likened Hollywood to a pimp, making himself a potential prostitute, as a way of explaining why he’s refused to play its game. He publicly called out Netflix, who has paid him about a zillion dollars over the past decade, for streaming Chappelle’s Show when he thought the deal was unfair. Chappelle is fearless onstage and off, willing to sacrifice a lot of money for his freedom and his mental health. I respect the hell out of that. I’m not saying I would’ve done it, but I understand. I think Chappelle’s best standup hour is still “The Age of Spin” because its structure is so brilliant. It’s like there are two countermelodies or counter-rhythms playing off each other as he goes in and out of stories about Simpson, commentary on Bill Cosby and notes on himself. But all of Dave’s specials have been great. He’s got a long, incredible resume of taking comedy into new realms and to me, the comedy GOAT battle is between Chappelle and Richard Pryor. No one else is close to them. There are a lot of similarities between them—Pryor, too, loved great stories. He often added bits of social commentary and talked a lot about himself. Both guys are unapologetically Black and champions for Black people. I have listened to a ton of Pryor’s stand-up work, and I revere him immensely. I love Pryor but I think Chappelle is funnier. I think he’s the greatest of all time. Touré is a host and Creative Director at theGrio. He is the host of the podcast “Toure Show” and the podcast docuseries “Who Was Prince?” He is also the author of seven books, including the Prince biography Nothing Compares 2 U. Look out for his upcoming podcast Being Black In the 80s. TheGrio is FREE on your TV via Apple TV, Amazon Fire, Roku, and Android TV. Please download theGrio mobile apps today! Share Facebook Share on Facebook Twitter Share on Twitter Email Share via Email
IsNetflix, Amazon, Fandor, iTunes, etc. streaming Dave Chappelle's Block Party? Find where to watch online!
dave chappelle's block party streaming vostfr
