... Chapter 6, “The Joker’s Wild, but That’s Nigga’s Crazy: Dave Chappelle Laughs until It Hurts,” opens with an incident in 2004 on the set of Chappelle’s Show , Dave Chappelle’s hit stand-up and sketch comedy series. When the comedian performed a “blackface pixie” sketch, he heard what sounded...

... Amiri Baraka Bessie Smith Dutchman “Crazy Blues” sublimation ...

... blackface Chappelle’s Show “Crazy Nigger” Richard Pryor stand-up comedy ...

.... No grunts. No wiggles in the dark of her soul. Crazy niggers turning their backs on sanity. When all it needs is that simple act. Murder. Just murder! Would make us all sane.” Clay diagnoses a racialized madness afflicting black Americans and argues that it must be sated by “metaphor” or else “murder...

... States at the New Directors/New Films festival held at the Museum of Modern Art on 18 March 1983. A cameo appearance by Richard “Crazy Legs” Colón of the Rock Steady Crew in Flashdance suggested that breaking could cross over to a wider audience. Roxy owner Steve Haenel hired AM/PM’s Vito Bruno to help...

... bourgeois repressions as well as antiblack and misogynist traumas, all revealed in stylized scenes of psychoanalysis—achieves release through “metaphor” and art. Liliane frequently spins neurosis into artful language and constantly sublimates fury, angst, and self-avowed “crazy” into painting...

... madness to Hill and how Hill herself produces, mobilizes, and brandishes “crazy” in service of devastating protest music. This chapter also prominently features hip-hop musician and producer Kanye West, who cites Hill as one of his greatest influences, endures widespread accusations of madness...

... is not overwritten by the projections of interpellated forms of agency. Here too, I argue that, rather than being crazy and megalomaniac (although she might be those things too), Bess is the only agent in the film, the only one who has taken her own agency as a possibility thanks in great part to the fact that she...

... by the projections of interpellated forms of agency. Here too, I argue that, rather than being crazy and megalomaniac (although she might be those things too), Bess is the only agent in the film, the only one who has taken her own agency as a possibility thanks in great part to the fact that she shares her...

... at the New Directors/New Films festival held at the Museum of Modern Art on 18 March 1983. A cameo appearance by Richard “Crazy Legs” Colón of the Rock Steady Crew in Flashdance suggested that breaking could cross over to a wider audience. Roxy owner Steve Haenel hired AM/PM’s Vito Bruno to help Ruza Blue...