Chris Spencer and Deon Cole on ‘Black Comedy in America’ Series and Why Comedy Is a Form of Therapy

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As a journalist, I find it fascinating to delve into the lives of comedians who have managed to break barriers and make their mark in the industry. Spencer, with his impressive career spanning decades, has certainly done just that. His claim of receiving a $1 million settlement and residuals from Good Times, only to be blackballed afterwards, speaks volumes about the challenges faced by Black comedians in Hollywood.

In numerous films, series, and documentaries exploring Black America, Hollywood frequently emphasizes the significant role that music played for African Americans as a means of expression and resilience during periods of hardship and triumph throughout their history in the United States.

Black Americans also have a strong affection for laughter! Laughter is an essential element, much like music, that weaves its way profoundly throughout the cultural tapestry of African-Americans. The ongoing 10-part documentary series on VICE TV, titled Black Comedy in America, continues to explore this theme and its impact.

On Tuesday night, an episode of the series hosted by comedians Tiffany Haddish, Chris Spencer, and Ryan Davis was aired. This episode examines the influence that iconic ’70s Black sitcoms like The Jeffersons, Good Times, Sanford and Son, and Different Strokes, along with others, have had. The discussion in this episode doesn’t just center on how these pioneering sitcoms laid the foundation for subsequent shows such as Black-ish or Insecure, but it also explores the broader effects these shows have had on Black comedy as a whole.

To delve into the themes portrayed in this docuseries regarding Black comedy, The Hollywood Reporter had conversations with two of the most prominent Black comedians who are currently making waves in stand-up, acting, and writing – Spencer, one of the co-hosts, and Deon Cole, who features in the third episode. Just a heads up: Expect plenty of humor and perhaps some chaos!

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First, let’s get into how this docuseries, Black Comedy in America, came about.

CHRIS SPENCER Initially, it was Michael Strahan’s production company along with Tiffany Haddish’s that took charge. My wife, who was managing Tiffany’s company, suggested using my phone book for the project. I began as an Executive Producer and later they proposed that I also serve as a host. That’s the sole reason I accepted the role. Consequently, I became a co-host alongside Tiffany, and we decided to bring in someone younger.

It’s fascinating to observe Ryan [Davis], as he often surprises us by revealing what we thought was common knowledge is actually new to him. For instance, he didn’t discover Eddie Murphy until 1988 and didn’t watch Richard Pryor until ’92. Being relatively young at 27 or 28, his perspective on our childhood experiences is still ahead of us. Listening to him reminisce and discuss these topics is enlightening, showcasing his intelligence. He’s already a genius in the making.

When considering the heartbeat of African-American culture, often the first association made by those outside of the United States is music. Therefore, it might feel unusual, yet here goes: What’s your interpretation of Black comedy? Each of you, in your own words, could explain this concept.

As a gamer, I’ve got to say: Dark humor cuts right through the fluff. No dancing around, no hidden meanings, no jests. Just raw, unfiltered reality.

JAMES I concur. In fact, let me share a common trait among Black audiences and stand-up comedy: we demand authenticity. It doesn’t matter who you are – if your performance falls flat, we won’t hesitate to express our disappointment. On the other hand, white audiences often give comedians more leeway, thinking, “He’s a professional, he’s on stage. I paid for this, let’s give him a chance.” However, with notable exceptions like Eddie [Murphy], Richard [Pryor], and Dave [Chappelle] (as discussed in the Black Comedy in America episodes), this attitude doesn’t apply to us.

Back in the day, there was this unforgettable night when Ernest “Rerun” Thomas from “What’s Happening!!” took the stage. He kicked off with his signature dance move, “The Raj,” that had everyone shouting “Raj! Raj!” The energy was electric, I tell you!

So, there are no other parameters or meters, if you will, in that definition?

SPENCER There are usually Black people in the comedy, if you want to add that (laughs).

In Cole’s words, it isn’t merely the comedian who embodies truth; it’s the entire audience and the overall experience as well. It’s not that the audience is deceitful when it comes to Black comedy. They will let you know, regardless of who you are. To support Chris’ point, I have witnessed some highly renowned comedians take the stage, and the audience might initially offer a courteous five minutes due to their reputation, but after that…

SPENCER (Paraphrased) Let’s call it as it is! African Americans put a lot of effort into their earnings; therefore, if we decide to spend our money on your performance tonight, make sure you keep us entertained! The reason being, during the show, African American audience members might think, “My relative is funnier than him,” or “I’m funnier than him,” or “I’m better than him,” or “My sibling is funnier than her.” So, you need to be funnier than everyone in their families and them.

COLE Black families might be thinking, “Every hour I’m spending on a babysitter, you need to make it really worth it!” (Laughs) In other words, it’s an accurate portrayal of their thoughts.

Has black comedy served as a means for African Americans to narrate tales and transmit messages within their community, similar to how music during the Middle Passage, slavery, and subsequent generations was utilized?

Definitely! I’ve come to see that pain mixed with time can lead to humor, don’t you think? Many of the funniest comedians have faced adversity in their lives, right? Richard Pryor, for instance, lived in a brothel and had to witness men coming and going from his mother’s room. Kevin Hart’s father was battling addiction. It seems like a therapeutic journey for us. As we heal ourselves, we’re also reaching out to others who might have experienced similar hardships or any imperfect situations, helping each other find ways to laugh and feel better.

COLE Comedy serves a therapeutic purpose. Many people, without this platform, might end up being mentally unstable, in trouble with the law, or financially struggling enough to afford therapy. We’ve learned that comedy is a form of healing, and when utilized in this way, it can be incredibly powerful and beautiful.

SPENCER I often find myself drawn to Richard Pryor’s work. In the ’70s, he was discussing police brutality – a concern that still resonates today. Our comedic performances often serve as a platform for these ongoing issues, acting as messages to our community. At times, we function as spiritual guides, counselors, coaches, and parental figures. This is particularly true when we’re performing for our own kind, as we have a unique ability to understand and empathize with their experiences.

Initially, I was part of the general crowd, and I’m unsure if Deon followed suit, but there’s a unique sensation when taking lives within a Black space. These experiences resonate deeply within us! When addressing a mainstream audience, certain actions we perform are rooted in culture. I appreciate the term “cultural,” and I admired when Denzel Washington conducted that interview. They discussed his film, Fences, and posed the question, “Could a white director handle this?” To which he responded, “Yes, but certain aspects are cultural.” For instance, consider the sound of a hot comb running through someone’s hair – that distinct ‘ssss’ sound, you can almost smell it; hear it. That’s cultural. Not many hot combs are found in white communities. (Laughs)

As a devoted admirer, I’ve often pondered about how the groundbreaking Black comedies from the ’70s have significantly influenced both contemporary Black series and the genre as a whole.

COLE It serves as a foundation. Just as with anything else, they broke through the barrier and everyone had their unique take on it. That’s all it is – your unique version. And there will be more unique versions of that version, and so on. Black people are complex, my friend. We find ourselves in various circumstances. There are Black individuals who don’t get along with other Black individuals. A show about that could be produced, (laughs)), and I believe Chris and I should be the ones to do it (laughs)).

SPENCER It’s called Us and Them (laughs).

COLE: I recall working on Deon Cole’s show, Black Box, on TBS. There was a Black gentleman we interviewed who seemed to dislike other Black people. The interview was filled with responses like, “No, I don’t… um, no I don’t do that,” “I don’t know, that ain’t … I don’t need that,” and “No, I don’t eat that…” Despite this, I continued the conversation, and he responded, “Nah, that’s just how I feel. Like I don’t like drinking with a crowd of Black folks. Cards? Spades? Why would I play spades?” Surprisingly, I ended up hiring him! (Laughs) I found his unique perspective intriguing. We clashed every morning, but it resulted in some fantastic TV.

SPENCER And his name is Byron Allen. (Laughter erupts)

The perspective will keep changing as we encounter different scenarios. An Issa Rae show, for instance, wouldn’t exist without the influence of “Good Times”. It’s all about growth and development.

PARAPHRASED SPENCER Essentially, there wouldn’t be shows like “Black-ish,” “The Cosby Show,” or “My Wife and Kids” without the influence of earlier series such as “The Jeffersons” and “Good Times.” The male characters in these later shows bore resemblances to figures like John Amos from “Good Times” and James Avery from “Fresh Prince of Bel-Air.” Similarly, Martin Lawrence and Sherman Hemsley shared certain characteristics. In the television landscape prior to “The Jeffersons,” we hadn’t witnessed an affluent Black family portrayed on screen. I recall watching “The Jeffersons” and being amazed when I learned it was a set; I thought it was a real building because I had seen characters going up in an elevator. The show represented a goal for many of us, even though we didn’t aspire to be like the family depicted in “Good Times.” Instead, we admired their strong Black father and mother figures, as well as their close-knit sibling relationships. Disagreements were inevitable within such a strong family, but this made the shows more relatable and enjoyable for both the Black community and mainstream audiences.

Did many, if not all, Black comedy series from the ’70s have white writers instead of African American ones? If so, did this influence your approach as creators in any way?

SPENCER Encouraged us to want to be white? (more laughter)

I was thinking more along the lines of encouraging you to write your own material.

SPENCER Indeed, it’s uncertain if that was my inspiration. Instead, it was the Wayans family who inspired me, constantly encouraging, “Build your own empire; don’t rely on Hollywood.” Despite some TV show deals, I found myself in situations where the showrunner lacked understanding of my ideas; he hadn’t even experienced the unique scent of a hot comb on someone’s neck. As I matured and acting opportunities dwindled, I turned to writing.

JOE He tapped the nail with the hammer. It’s essential for you to develop your own work. Others can guide you up to a certain point; hence, you need to take it from there yourself.

Eric Monte, hailing from Chicago, was the actual mastermind behind those popular shows. He was present during their creation and was instrumental in shaping them. He would often say things like, “We don’t bake bologna, we fry it.” His suggestion for an episode about a Black Jesus in his home was also implemented. Unfortunately, he doesn’t get the recognition he deserves because he allegedly sued ABC, CBS, Norman Lear, and others in 1977 for stealing his ideas for Good Times, The Jeffersons, and What’s Happening. According to the Los Angeles Times, he received a $1 million settlement and some residuals from Good Times, but was subsequently blacklisted in the industry.

Where is Black comedy heading over the next 10 to 20 years?

SPENCER I believe we’re at a peak point now, don’t you agree? In the past, there was always a popular comedian who stood out during specific seasons – like Flip [Wilson] and Redd Foxx in their time, followed by Richard [Pryor], then Eddie [Murphy], and later Damon [Wayans].

Currently, stars like Deon, Kevin Hart, Mike Epps, Dave Chappelle, and Chris (himself) are all experiencing tremendous success on tour, and their specials are receiving outstanding reviews. This doesn’t mean there’s a competitive situation similar to crabs in a barrel. In fact, Deon and I recently performed alongside Dave Chappelle last month. At times, major headliners may prefer not to have too many other high-profile acts preceding them. Placing Deon before you might suggest that “I am prepared to handle it!” or “I’m ready for the challenge!”.

COLE (Laughs) I was about to say… (both laugh)

SPENCER I’m all set for it! It’s a fun challenge, more like an exciting chase, so it’s really enjoyable to observe. It’s fascinating to see comedians teasing each other. For instance, Tiffany Haddish produced the ‘She’s Ready’ series, which spanned two seasons featuring fellow comedians. Kevin Hart collaborated with the Plastic Cup Boys, and Dave Chappelle worked with Donnell [Rawlings] and Luenell. Soon, we’ll get to see Tony Woods in action. Watching each other succeed is truly entertaining! That’s what makes it worthwhile.

Man, let me tell you, when Deon rolled into town, I couldn’t help but notice his incredible talent! I exclaimed to my friends, “Wow, this guy is outstanding!” Later, I was lucky enough to collaborate with him on the show Grown-ish, and he didn’t disappoint – he was simply fantastic. We also have a secret R&B group called “Lustacy” that we’ve been keeping under wraps (chuckles)).

Deon, it’s possible that there are quite a few older single gentlemen who might be feeling rather frustrated with you due to your recent comedy series on Netflix. [Editor’s note: In his show, he suggests to younger women that the best way to dismiss older men in a club is by letting them finish flirting and then simply responding, ‘Alright, Sir!’]

SPENCER (Laughs) Deon is giving up game!

COLE (Exuberant Laughter) You know what we’ve been stressing since day one? It’s black comedy and its essence lies in truth! Black comedy embodies reality, my friend!

SPENCER Yes, Black comedy is truth!

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The popular series, “Black Comedy in America,” is coming back on November 12 at 10 p.m. Eastern/Pacific Time on VICE TV. You can also catch up with the episodes online at Vicetv.com. On November 10 at 10 p.m. ET/PT, a re-run of Deon Cole’s “70s Sitcoms” episode will air. Future episodes of “Black Comedy in America” will showcase legends like Richard Pryor, Eddie Murphy, Dave Chappelle, and many more.

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2024-10-30 23:26