Get The Cameo T Shirt myfavtees. This week? BernieMac is back! Only on Wheeler Street. He only went ball as part as one of the sacrifices he had to make to cross over. Along with ending his marriage, to the only woman who was really down for him from the jump. Even after he cheated on numerous occasions.
She still stayed with him and helped to support and build his brand, and we all seen how that went. He has lawsuits pending, and now he's surrounded by people he can't even trust. And guess what, it will only get worst from here Playa. Cause when you are out for selfish gains, stepping on and hurting all those who were there with you along the way up.
Nothing good can come from your evil ways. Only temporary happiness.
Milk & Cookies
Remember what has been giving, can always be taken away. But what no one can ever take from you is everything that makes you who you are. I'm talking about your morals, your integrity, your peace of mind, and your character. Black people need to stop supporting and celebrating celebrities that don't stand for us. Not saying that Steve doesn't support, I know he has helped plenty of people out. But also at the benefit of himself Let's start this week off right!!!
Good Morning How's your Monday? It tells the story of the the rise and fall of the gangsta rap group N. Chris Tucker - Who is who? Rest In Peace to the Comedy Don.. BernieMac -. Me and Bernie. Disappointed as fuck. This guy has so much strikes against him. He is black He is gay Now we know he is a fraud. Y'all get ready cause the weekend is over and Monday is tomorrow. Take it on as well as this guy host comedian mc standupcomedy standupcomedian michaeljr kevonstage johnbcrist vlog vlogs videoblog blog christianblog youtube youtuber blogger influencermarketing johngray martinlawrence steveharvey chrisrock christucker davechappelle berniemac jamiefoxx defcomedyjam 2 yesterday.
Tomorrow check out my interview with realjeremysuarez from pm est on connectlikeminds To listen download the tune in app and type digital dope radio radioshow berniemacshow berniemac nickelodeon brotherbear actor icon comedy 95 4 yesterday. Happy Sunday. When acehood and his boo turned up. To make matters worse, rent is due, he hates his overbearing girlfriend, Joi Paula Jai Parker , and his best friend, Smokey Chris Tucker , owes the local drug dealer money -- and that's all before lunch.
Release date: April 26, USA comedy funnymovies classicmovies friday christucker icecube johnwitherspoon reginaking berniemac 4 0 3: A joke, as defined by this list, is a discrete moment of comedy, whether from stand-up, a sketch, an album, a movie, or a TV show. First, we decided early on that these jokes needed to be performed and recorded at some point. Second, with apologies to Monty Python, whose influence on contemporary comedy is tremendous and undeniable, we focused only on American humor.
Third, we only included one joke per comedian. They are listed below in chronological order, complete with video or audio. Use the timeline slider to jump to different eras or specific comedians. Released at a time when cylinder recordings were at their apex, Williams became widely known for the song, and he was forced to sing it at essentially every appearance he made, for the rest of his life. Cohen on the Telephone George L. Last night de vind came unt blew down de shutter outside mine house, and I vant you to send a car-pen-ter — a carp.
Oh, never mind, I'll have it fixed myself. Developed in England by Joe Hayman, the definitive Jewish vaudeville monologue became bigger than any one comedian as it grew into a sensation stateside when American comedians like Barney Bernard, George L. Thompson, and most notably Monroe Silver took on the character of Cohen and recorded covers of the routine.
Built on a classic misunderstanding-an-accent premise, it popularized the comedic device of hearing one half of a phone conversation. It was an undeniable influence on comedy legends Shelley Berman and Bob Newhart. This bit was something different for comedy at the time. Because this scene was so joyful, it makes reality all the more depressing when the Tramp gets stood up for his dinner date. By being among the first on the silver screen to add a little tragedy to his comedy, Chaplin raised the bar for the art of jokes.
He was highly agile, performing all his physical stunts — many of them genuinely dangerous — without cuts, often in one take. Whereas Chaplin made intimate poetic miniatures that are admirable but can sometimes cloy, Keaton made broad, bright murals that do not require much adjustment of your mind-set. Lambchops Burns and Allen Burns: Do you like to love?
Like to kiss? What do you like? Lamb chops. Could you eat two big lamb chops alone?
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Oh, no, not alone. With potatoes I could. Many earlyth-century vaudeville stars left the stage to help power the burgeoning media of radio and TV, but few were bigger or brighter than George Burns and Gracie Allen. Wit, wordplay, bits of physical business, and a diverting ditty about love, complete with soft shoe. They give us three good years and one bad one — no, three bad ones and one good one. That was what Will Rogers pioneered in the s. With a down-home, backwoods charm, Rogers became a national figure by discussing the government and his humorous, logical approach to what was wrong with it.
In the midst of the Great Depression, Hoover introduced a plan designed to encourage local groups to help with unemployment, and he asked Rogers to appear on the radio to help promote this plan. What he got were these jokes. Every generation needs a Colbert to present the truth in an entertaining way, and Will Rogers was one of the first we had. Laurel and Hardy vs. Right on top of the stoop. Laurel and Hardy are hired to deliver a piano to a house in Los Angeles, and discover on their arrival that the door is at the top of a very steep, very narrow flight of steps.
The bare-bones premise allows it to become a pure physical-comedy experiment: The Marx Brothers used insanity. The Marx Brothers may not have been able to do anything about the coming war, but they certainly gave us something to laugh about. At once a renegade, a box-office sensation, and an unlikely sex symbol, she reshaped the very rules of comedy. When she was good she was very good, but when she was bad, she was an absolute badass. What are you going to do? A system all my own …. A certain alleged violinist should hold his head in shame.
Creating a fake rivalry to get attention was nothing new when the wry, clever Allen started taking shots at his longtime friend Benny on the air, but their commitment to the gag was. The pair kept the sideshow going for a decade. The format is one that is still mimicked to this day: And though the joke is seen as shticky and hacky at this point, structurally it is deceptively elegant, as the setup is hiding inside what seems like a transition. Who is on first. The sketch itself endures for a number of reasons: Its simple premise delivering myriad laugh lines, the clear schlemiel-schlimazel dynamic between performers, the room it provides for embellishment, and the rat-a-tat delivery make it feel like a ramshackle Ford Model T gathering speed as it barrels toward the edge of a cliff.
Fields in Love W. Fields, Edward F. I was in love with a beautiful blonde once, dear. She drove me to drink. The portly, hard-drinking comic spoke that line in his last starring role in a career marred by alcoholism. Off-screen problems aside, Fields found a way to make audiences laugh at and root for a character who hated children as much as he loved liquor and thumbing his red nose at societal norms.
Your money or your life …Benny: Look, bud. I said your money or your life. This joke is reputed to have had the longest sustained laughs in radio history. Jack Benny had a lot of recurring jokes associated with his character: A joke that is perfect for the character, but is still surprising to an audience — nobody nailed it like Benny. It was , a year into commercial-television broadcasting, and literally nobody had figured out what TV comedy would or could be. Berle had worked a million stages, starting in vaudeville, and had a clue: The ten-inch, black-and-white screen meant that almost nothing could overwhelm, and the broader the performance the better.
Unsubtle shtick, ridiculous costumes, patter, a frantic, frenetic pace — it all turned out to be right for the smudgy image on a ten-inch, black-and-white screen. While there were other female comedy performers — in TV and movies, or as a part of double acts — Jean Carroll was the first to break through by standing alone onstage. Her rapid-fire delivery that sneaks in punch lines as she blitzes her way through a monologue, like in the joke above, feels arrestingly contemporary, and might remind you of Amy Schumer or the way Jim Gaffigan delivers his punch lines in falsetto under his breath.
She moved so quickly and was so ahead of her time, she literally tells the audience to catch up. Ed Sullivan got it, though, asking her to appear on the show over 20 times. A Streetcar Named??? Well, when I left the plantation, I went to New Orleans. And there I met a very wealthy gentleman who wants to marry me … [Stanley eats chicken as she continues to speak. His second show was so popular that it was cancelled so the network could break it into two different shows.
A guest host would perform sketches with Sid, Imogene Coca, Carl Reiner, and the rest of the players, and a song or two would be performed. Here she comes. Puts hat on her head. It's like an Eisenhower jacket, only it's got an extra flap that fits over the mouth. In s San Francisco, when audiences expected performers to grace the stage in jacket and tie, Mort Sahl shuffled into the spotlight in a disarming bright-red sweater and freshly pressed khakis, ever-present newspaper in hand.
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He was often mistaken for a student at the trendy hungry i club, and that unassuming appearance came in handy, as his biting topical humor was known to split the room. No topic was off-limits, no target was taboo, not even the communist witch hunts of McCarthy-era America. But Sahl made it palatable by speaking to his audiences in their own language, with unprecedented conversationalism and intellectualism. Pickpockets vs. A pickpocket snatches watches. The pickpocket joke is certainly just one of thousands Foxx had in his pocket, but it represents two things he loved most in a joke: Its density influenced, and will continue to influence, all cartoons that came after it.
Two jazz musicians accidentally witness a gang murder and go on the run, disguised as women. Too many people think of Adler as a man who made mice neurotic. He was more, much more. Much more. Much more Can you move over a little? I'm sorry. A great deal more. There is just so much in this joke. There is the natural banter and subtle heightening of improvised dialogue; the duo met earlier in the decade as members of the Compass Players, the seminal improv group that also included Alan Alda, Ed Asner, Shelley Berman, and Del Close, whose members, in the same year as this record came out, founded the Second City.
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Beyond that, the joke is remarkable for how well it captured how mid-century, high-brow people talked. Nichols and May affectionately parodied beat trends and intellectual pretensions, in which pillow talk becomes a game of who-can-drop-the-impressively-most-obscure-literary-reference. After Nichols and May, and some of their peers, comedy would no longer be primarily defined by a man in a tuxedo telling jokes in a nightclub.
They were their own audience and above all they made each other laugh. The idea of making comedy for yourself, your friends, and people who think and experience the world the way you do was uncommon before Nichols and May, and fundamental to comedy after. You see I meant the next street. Bob Newhart always sounded like he was making up his act as he went along, which not only made him relatable, but exciting.
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You also get a good sense of his expert timing; not many people could live inside a befuddled pause like Bob Newhart, and he went on to become one of the most-beloved comics of all time, influencing every understated comic who came after. Early in his career, it was much more clear which side of the fence he was on. After getting out of the military, Gregory told jokes in black and white rooms, got a leg up from admirer Hugh Hefner, and worked on TV appearances to provoke thought and motivate action through comedy. Though his early shows had punchy one-liners about everything from space travel to drinking booze, his clear-eyed look at black life in the segregated South will be his legacy.
This restaurant joke was one of the first to undercut segregation and discrimination in a public setting with bold intelligence and humility. This contemporary of Mort Sahl and Lenny Bruce, who still performs occasionally at the age of 84, has touched thinkers irascible, e. Paul Mooney, and genial, e. Bill Maher. The idea of white guilt as a punch line feels like nothing new today, when publicly calling out people and organizations for racial microaggressions using the most up-to-date social-justice buzzwords is a viable path to online celebrity.
The speaker in this bit clearly has the best intentions, yet still manages to speak almost exclusively in stereotypes or compliments steeped in unconfirmed generalizations. Though his comedy is of-a-time, this is ultimately why he continues to be held in such high regard. People nationwide were quoting the above joke.
Comedy has a history of helping to shape public perception of a president — and it all started here. Letterman paid homage to Allen and credited him often and openly: His Alka-Seltzer suit explicitly mimics the teabag stunt, and he, too, drew on the endless comedy fountain that comes from watching street weirdos. Strangelove or: Gentlemen, you can't fight in here!
This is the War Room! The wheelchair-bound titular character gets the most laughs with his uncontrollable right arm and occasional outbursts that reveal his loyalty to Adolf Hitler. But the best line of the film belongs to President Merkin Muffley, another of the three characters Sellers portrayed. The delivery is so forceful, so serious, that it takes a few seconds to realize how absurd the line is, as the world faces assured destruction.
In the early days of TV, networks had room to experiment, play, and occasionally fail — and without this freedom, the country may never have learned about the warm and antic improvisational comic Jonathan Winters. Occasionally, the audience would get a taste of his established characters, such as saucy old lady Maude Frickert; other times, Winters would be handed a prop or two and then be encouraged to let loose.
As the comedian goes fishing, fights bulls, and reports to superior officers about seeing giant beetles, he often finds rich characters as well as crisp punch lines. Finally, the cucko, you know, oozed out. Had his dark glasses on. A Harvard mathematics professor starts writing funny Cole Porter—inspired songs, self-releases an album, and before long is performing those songs every week on national television. He hits the cowboy right between his legs. The fact that Johnny was a natural performer who was quick on his feet is frequently forgotten. Johnny waited for his moment, even going as far as to prevent Ames from retrieving the tomahawk before dropping an ad-lib that would live on in a million blooper specials for years to come.
Has a daytime show. While Don Rickles, a. Rickles is a model jester when mocking the powerful — even presidents — so the fact that Boone happened to be drinking milk during his act was basically like a layup. Hosting the show in , he opened with one of his most famous jokes: Sure, we all love to laugh, but is it art? Ah, irreverence! Holocaust jokes. Nobody self-deprecated like Phyllis Diller, a true pioneer in the art of making fun of oneself.
For Diller, this manifested itself in wearing outlandish bag dresses and exaggerated hair and makeup, wanting the crowd to only focus on her jokes. For that, every comedian, male and female, owes something to Diller.
Most immediately Joan Rivers, who honed her act by taking herself down a peg with one-liners about being an unmarried Jewish woman. Rivers wore cuter dresses, however. You know what, you've got spunk! Well, yes … Lou: I hate spunk. Ron Swanson dynamic that would propel the show through seven critically acclaimed seasons.
Incredibly poignant at the time, it also set a template for a charming yet awkward female protagonist trying to have it all see: Liz Lemon. Ernestine Talks to Mr. We are omnipotent. Ernestine was insistent, with a mildly sinister snorting laugh, and she pretended to be your friend, which is what made her dangerous. Her influence reached every sketch and character performer who came after her, from Gilda Radner to Mike Myers to Kristen Wiig. I got the stuff with me. Open up. A Mexican-American from L.
They form a comedy duo. The source of their material? One sketch about a deal gone wrong due to a brain-dead smoker becomes a hit, leading to more hilarious albums about weed and music and race, then eventually a film franchise. Stoner comedy is still going strong today — if not more so today, as weed becomes more socially acceptable — and it can be traced back to this three-word punch line. All of it. Did you ever notice: Four words that would go on to define a generation of comedians, and Brenner was one of the first stand-ups associated with it. This is the joke that started it all.
I was so poor, I was so dumb, so this, so that. It sounds like a funny image — a guy who gets no respect. With a new image and catchphrase, he became a comedy star, building on the work of Henny Youngman and Don Rickles to create one-liners that were darker, grittier, more specific. Comedians have an ideal age for their comedy, and it seems Dangerfield needed to be a little older and a lot more grizzled before America wanted to hear from him.
Old, but not too old to push stand-up forward. Now, no prejudice intended, but, you know, I always check with the Bible on these here things. But look what he done. He put you over in Africa, and put the rest of us in all the white countries. Sammy Davis Jr.: Suddenly, a family in Queens with a racist dad and a lefty son-in-law was arguing — really vigorously!
The series almost never slid over into treacly Very Special Episode territory, either; the issue-oriented stuff was baked into its premise, and it usually stayed funny. The Sammy Davis Jr. Thank you, thank you, and good evening, ladies and gentlemen. Wait a minute, how could you be me? I said I was me. Early in his career, the L. The title track, a routine about a trip to the garage, leaves empty spaces for lines read aloud at home from a script, which was included on the inside of the album cover.
Over the course of the scene, you — yes, you — essentially grift Brooks and guest comic Georgie Jessel while picking up all the laugh lines. Jungle bunny! Honky honky! I nterviewer: Dead honky. Mooney is one of the all-time greatest comic minds on the subject of race, and this sketch showed just that.
As a piece of comedy, it demanded attention. Mike Douglas. Yeah, come on! I wondered: What would his reaction be, huh? I think it might go something like this. He turns back around, puts his hands to his eyes, and screams maniacally.