Freedom in Laughter

Malcolm Frierson

Description

In this groundbreaking book, Malcolm Frierson moves comedy from the margins to the center of the American Civil Rights Movement. Freedom in Laughter reveals how stand-up comedians Dick Gregory and Bill Cosby used their increasing mainstream success to advance political issues, albeit differently. Frierson first explores Gregory's and Cosby's adolescent experiences in St. Louis and Philadelphia and then juxtaposes the comedians' diverging humor and activism. The fiery Gregory focused on the politics of race, winning him credibility at the expense of his career in the long term, while Cosby focused on the politics of respectability, catapulting him to television and film stardom. Although militant blacks repeatedly questioned Cosby's image, Frierson suggests he and Gregory both carried the aims of the black freedom struggle. With an epilogue that considers the comedians' post–civil rights era trajectories, this book is accessibly written and filled with Gregory's and Cosby's original material, appealing to academics, history buffs, and anyone interested in American popular culture.
List of Illustrations
Acknowledgments

Introduction: Humor Matters

1. The Green Room

2. Coming to the Stage

3. All of the Lights

photo gallery following page 68

4. Black Comedy, Black Power

5. Edutainment

Epilogue

Notes
Works Cited
Index

Sujets

• États-Unis
• History of the Americas
• 20th century
• Ethnic studies
• Popular culture
• United States of America
• USA

Informations

• Publié par: State University of New York Press
• Date de parution: 01 août 2020
• Nombre de lectures: 0
• EAN13: 9781438479088
• Langue: English

Extrait

Freedom in Laughter
SUNY series in African American Studies

John R. Howard and Robert C. Smith, editors
Freedom in Laughter
Dick Gregory, Bill Cosby, and the Civil Rights Movement
MALCOLM FRIERSON
Published by State University of New York Press, Albany
© 2020 State University of New York
All rights reserved
Printed in the United States of America
No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher.
For information, contact State University of New York Press, Albany, NY
www.sunypress.edu
Library of Congress Cataloging-in-Publication Data
Names: Frierson, Malcolm, 1974– author.
Title: Freedom in laughter : Dick Gregory, Bill Cosby, and the civil rights movement / Malcolm Frierson.
Description: Albany : State University of New York Press, 2020. | Series: SUNY series in african american studies | Includes bibliographical references and index.
Identifiers: LCCN 2019036169 | ISBN 9781438479071 (hardcover : alk. paper) | ISBN 9781438479088 (ebook)
Subjects: LCSH: Gregory, Dick. | Cosby, Bill, 1937– | African Americans—Civil rights. | African American entertainers—Biography. | Civil rights workers—United States—Biography. | Comedians—United States—Biography. | African Americans—Segregation—Humor.
Classification: LCC E185.61 .F895 2020 | DDC 323.1196/073—dc23
LC record available at https://lccn.loc.gov/2019036169
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For Nicole
Contents
List of Illustrations
Acknowledgments
Introduction: Humor Matters
Chapter 1 The Green Room
Chapter 2 Coming to the Stage
Chapter 3 All of the Lights
photo gallery
Chapter 4 Black Comedy, Black Power
Chapter 5 Edutainment
Epilogue
Notes
Works Cited
Index
Illustrations
The photos appear as a gallery after page 68
Figure 1.1 Dick Gregory at Southern Illinois University
Figure 1.2 Bill Cosby at Temple University
Figure 2.1 Dick Gregory and Mike Douglas
Figure 2.2 Bill Cosby performing stand-up
Figure 3.1 Dick Gregory and Ossie Davis
Figure 3.2 Bill Cosby and Sidney Poitier
Acknowledgments
This book began the moment that my college roommates dared me to enter a campus talent competition. Not only did I accept, but I won first place with an original stand-up comedy routine. Within two years, I became a professional comedian with a budding career, big-time agent, and invitation to take my talents to Los Angeles. I balked. My fear was that the label of “comedian” would ruin my goal to become a scholar and activist. Who would take me seriously? I asked myself. So, rather than trying to make it as a Martin Lawrence with political interests, I instead chose to become an academic with an interest in humor. I wish I knew then what I know now! Nonetheless, many thanks to my college roomies, Ralph Johnson and Anthony K., for your initial challenge, and to Arnez J and Nephew Tommy for taking a “newjack” under your wing.
The University of Memphis Department of History provided the research and travel funding to complete this study. Janann Sherman, this book, as well as our wonderful friendship, found its shape in your Dissertation Support Group meetings. Thank you for being in my corner when I needed you most. Karen Bradley, your kindness, professionalism, and genuine conversations made working with you enjoyable. Beverly Bond, Charles Crawford, and Ed Yancey, thank you for investing in this project. Aram Goudsouzian, words cannot do justice to the support you gave at every stage in this process. From conceptualization to publication, this book reflects a conversation that you and I began several years ago. I could not have made a better choice for an advisor to guide that discussion.
The New York Library for the Performing Arts and Schomburg Center for Research in Black Culture shared archival resources toward the publication of this work. Heartfelt thanks to those who fielded document requests and worked diligently to assist my research. The Special Collections Research Center, Southern Illinois University Carbondale Library and the Charles L. Blockson Afro-American Collection, Temple University Libraries provided images that appear in this book. Special thanks to both institutions for speedy turnaround times. Michael Rinella, my editor at SUNY Press, thank you for your exceptional diligence and support.
Edmund Abaka and Nupur Chaudhuri, you’ve helped me remain steady through some turbulent stretches since I began my journey in academia. This book, in a very real sense, is evidence of your mentorship and larger work. Audrey McCluskey, thank you for taking the time to assist my transition from doctoral candidate to colleague. Ameenah Shakir, your friendship has been a gift for fifteen years and counting. You nurture my intellect, give the best advice, and crack me up effortlessly through the good and bad. I see you! Monique Bedasse, John Gustavsen, Cecile Houry, Jack Lorenzini, and Chanelle Rose, thank you for your feedback and friendship over the years.
Lane College offered my first full-time faculty position. I felt the HBCU love from my first day to my last. I’m indebted to Carleen Jackson and Linda Theus, especially, for fully orienting me to higher education while encouraging me not to lose sight of this project.
My tenure at North Lake College connected me to an incredible group of professionals who made me feel “home.” Christa Slejko, the opportunity to share the final stages of this research with the NLC campus community will always be a highlight of my career. Roy Vu, your support of my academic as well as creative endeavors is truly appreciated. Tish Waters Hearne, I look forward to discussing the arguments in this book endlessly. There are so many more special people in my North Lake College family than I have room to mention. Please forgive the omissions. Lastly, and quite personally, I want to acknowledge my NLC colleagues who helped lift me during unfortunate life events prior to this book’s completion. James Duran, Phyllis Elmore, Shawnda Floyd, Daryl Howard, Arthur James, Shani Suber, Roy Vu—again, more names than I have room to mention—thank you for caring and seeing me through.
My mom, Muriel Frierson, gave me the spirit of ambition. My dad, Earnest Frierson, gave me direction. This book honors you both. Marcus, Susan, and Mario, my siblings, thank you for understanding and validating my lifelong idiosyncrasies with love. This book is all of ours.
Nicole, my darling wife, you coauthored this book through your consistently tender love that strengthens me more than you know. We’ve come so far, and I’ve learned so much about partnership along the way. Thank you for understanding my writing process and tolerating the organized mess of books and papers when I kick into high gear. Thank you for sitting and thinking with me every time I asked for five minutes to get your thoughts about my ideas (even though you knew it would take so much longer). Thank you for placing your career on hold to navigate our family through a storm. And thank you for making me Eva’s dad. This is my best life, “on the ocean,” just like we planned. I love you, I love you, I love you.
Introduction
Humor Matters
In the 1960s, Dick Gregory and Bill Cosby electrified white audiences with comedy acts that echoed millions of African American voices demanding political, social, and economic equality. Gregory led the paradigm shift with an edgy brand of racial humor that represented African Americans seeking immediate gains. He shocked whites with his biting satire and transformed the comic stage into a platform for protest and leadership in the African American struggle for freedom. Cosby, a slightly younger comedian, soon followed with a less jarring style that featured family-friendly storytelling and excluded racial material. He patiently and strategically allowed the appeal of humor rooted in universal humanity to nudge whites toward viewing African Americans as equals. Gregory and Cosby fused art and politics to a degree comparable to more recognized cultural celebrities, such as Muhammad Ali, Harry Belafonte, and Sammy Davis Jr. Both comedians contributed to the advancement of civil and human rights in America. Their careers transcended the boundaries in which humorists are often confined.
Humor is a universal language that consists of simple as well as deeply perceptive observations of lifeways, such as music, dress, government, and child rearing, that exist within a specific culture. It unifies groups and societies by communicating members’ thoughts regarding established norms, quite often coupling them with exaggeration, oddity, or ridiculousness. Dexter Gordon asserts that “humor arises from passion and has always provided a serviceable channel for expressing human feelings.” This idea is especially characteristic of the role of humor in the African American experience. “When the rage of the oppressed is spoken,” Gordon posits, “humorous discourse may provide a vital rather than a merely convenient channel.” 1 Gregory and Cosby employed humor as a “safe” medium through which their grievances against white supremacy could be registered. It invited less backlash than more aggressive channels, such as public protest. Using humor to defuse volatile topics proved invaluable to both comedians, who communicated serious messages in vastly different styles.
Stand-up comedy is the delivery of topical material from an individual humorist’s