<p>This retrospective paper will analyze the life and work of stand-up comedian Paul Mooney (1941–2021). A staple in stand-up comedy for more than half a century, Mooney’s signature style of hard-biting material on race and American culture made him a favorite among black audiences while garnering more mixed reactions from white audiences. The root of these incongruous responses was Mooney’s Afrocentric worldview, which sought to use comedy to challenge American racism and restore dignity to Black people throughout history. This paper will explore how a critical review of Mooney’s memoir, <i>Black</i>,<i> is the New White</i>, and selections from <i>Race</i>,<i> Masterpiece</i>,<i> Analyzing White America</i>, and <i>Know Your History</i>,<i> Jesus</i>,<i> is Black; So Was Cleopatra</i> from a body of work mirroring the contributions and limitations of Afrocentric thinkers such as Molefi Kete Asante, Ivan Von Sertima, and Chancellor Williams.</p>

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Whatever the Quality that White People Enjoy in Black People, I Ain’t Got It: Critical Reflections on Paul Mooney’s Afrocentrism

  • Justin Williams

摘要

This retrospective paper will analyze the life and work of stand-up comedian Paul Mooney (1941–2021). A staple in stand-up comedy for more than half a century, Mooney’s signature style of hard-biting material on race and American culture made him a favorite among black audiences while garnering more mixed reactions from white audiences. The root of these incongruous responses was Mooney’s Afrocentric worldview, which sought to use comedy to challenge American racism and restore dignity to Black people throughout history. This paper will explore how a critical review of Mooney’s memoir, Black, is the New White, and selections from Race, Masterpiece, Analyzing White America, and Know Your History, Jesus, is Black; So Was Cleopatra from a body of work mirroring the contributions and limitations of Afrocentric thinkers such as Molefi Kete Asante, Ivan Von Sertima, and Chancellor Williams.