The special, titled Martin Lawrence Doin’ Time: Uncut, will feature “impressions and insights” on “everything from sex and relationships to President Obama, Bill Cosby, Hollywood and more.”
The show was filmed at Orpheum Theatre in Los Angeles during Lawrence’s Doin’ Time: Uncut Live tour this year, his first stand-up tour in four years.
“I look forward to having my third concert film premiere on Showtime,” Lawrence said in a statement. “Fourteen years is a long time between concert specials and I am excited to know that my TV audience will be able to enjoy this show as if they came to see me live.”
Prior to Uncut Lawrence’s last concert special was 2002’s Runteldat, a commercially successful show (it went on to make $20 million dollars — almost seven times its production cost of $3 million) that found Lawrence speaking candidly about collapsing from heat exhaustion (resulting in him being in a coma for several days), and having an encounter with a police officer when he was under the influence of a particular substance.
Aside from offering commentary on President Obama, Bill Cosby and Hollywood, it’ll be interesting to see what else the comedian tackles in his stand-up. Maybe we’ll hear his thoughts on the police violence that’s been occurring this year, as well as what he thinks about this year’s presidential election (some of the special must be dedicated to completely roasting Donald Trump).
Fans of Lawrence were probably already excited before this news was announced, considering the next installment in the Bad Boys film series (Bad Boys For Life) finallyhas an official release date. The movie is scheduled to drop on January 12, 2018, and will feature Lawrence and Will Smith reprising their roles as Detectives Burnett and Lowrey, respectively.
You can catch Martin Lawrence Doin’ Time: Uncut on Showtime Sept. 9 at 9 p.m. ET/PT.
Famously known for his fast-talking wit, unmistakable high-pitched voice and raunchy comedic style , funnyman Chris Tucker was all but MIA from the movie scene for years. Save for a small role in the 2012 Oscar-winning film Silver Linings Playbook, Tucker’s absence was felt long enough to raise questions and rumors about everything from the state of his mental health to his supposedly born-again religious beliefs and his reported multi-million dollar tax woes. But thanks to Netflix, which recently debuted Chris Tucker Live, an hour and a half stand-up special several years in the making, Tucker is officially back.
I, for one, congratulated Tucker in my head for doing something other than Friday or Rush Hour, arguably his most famous (and reprised) roles. But stand-up is a unique and brutal beast all its own. In the past, the comedy arena seemed to only have room for one “it” man (or woman, for that matter) at a time. Right now, it’s Kevin Hart’s world, and we’re just living in it. So, the question on everybody’s mind is can Tucker hold his own with today’s top comedians? More importantly, does he still have it?
Offering a glimpse into his personal life and briefly poking fun at some of the aforementioned issues behind his disappearing act, Tucker’s Live is equal parts grown man suite and opus to the dictum, mo’ money , mo’ problems. Single and admittedly looking for love, the comedian opens with jokes about his problems with modern dating, like the younger woman who took to tweeting while in the throes of passion. He touches on the extreme differences in relationships when dating vs. being married. According to him, women seemingly turn from angelic and eager to please to demonic, opting for a hands-off, don’t ask me for sh*t, you’re on your own type of approach. He also joked about his desire to find a woman who can fill out a 1099 form and keep him from going back to Wesley Snipes for tax assistance.
Despite his take on relationships, an issue that most everyone can relate to, from the jump I felt like I was watching an episode of The Big Bang Theory. “Where’s the funny?” I kept asking myself. I was literally waiting to laugh. For me, that didn’t happen until he brought up Michael Jackson. Tucker befriended the late King of Pop and even made a cameo appearance in his “You Rock My World” music video. Tucker gives a hilarious, spot-on impression. Soft voice, intonation, dance moves and all, he lets us in on how Jackson loved hip-hop, particularly 50 Cent’s “In Da Club,” and his penchant for mimicking Rick Ross’ quintessential grunt. Tucker even took us on a tour of Neverland; marveled at Jackson’s nonchalance over a lion that got loose and the giraffes that casually walked around the property like it wasn’t no thang.
“Michael, was that two giraffes that just walked by the window?”
“It was three. It was three, Chris.”
But the stand-up special really came to life when Tucker talked about his childhood. The youngest of six children, he was no stranger to whoopings at the hand of his father and reenacted the time when he and his brother were told to strip and wait for a beating on the couch. Tucker was frantic (and confused), and his brother told him to stay strong. Then his brother burst into tears the second his father got to whooping, which sent Tucker into a fit of laughter, despite not being spared the rod. Even funnier was Tucker’s reenactment of the time his card-playing father accused a roach on the wall of helping people cheat and peep his hand.
Tucker’s impressions of his no-nonsense mother were equally entertaining. He reenacted the time when he accidentally ate her breakfast while en route to church, a definite no-no. He also shared the audacity he had to talk back to her (from a distance) when they were in church, the one place where she couldn’t step away to set him straight. His parents’ completely opposite approaches to parenting give us a look at what it was like growing up Tucker.
Though the stand-up special definitely lagged in places with jokes that went on for too long or that simply lacked juice (like his over-the-top telling of his welcome to Africa, which he kept referring to as if it were a state, not a continent), where Tucker succeeds most is when he’s honest about where he’s been and where he comes from. Though he might not have answered all the questions about his time away and certainly would have benefitted from delving deeper into personal, more relatable stories that had less to do with fame and money (though intriguing and amusing) and more to do with everyday living and occurrences, he still held his own. This was no therapy session, but a reintroduction to the public at large in the arena where Tucker first cut his teeth. Tucker will undoubtedly be compared to contemporary comedians like Hart, but with this special and a role in a soon-to-be-released film, he is proving that there’s still room for Chris Tucker yet.
Fox News host Bill O’Reilly lost his patience with guest Kirsten Powers while accusing both her and liberals of unfairly painting the US as a racist country. They continued to fight over confronting race in America, and as O’Reilly continued to insist that racism is down to the fringes, Powers just came right out and asked, “How many black friends do you have, Bill?!” O’Reilly didn’t directly respond, just told her, “If you think most Americans are racist, I’m ashamed of you.http://www.worldstarhiphop.com/videos/video.php?v=wshhN6Tkahu8YLAehZ1y
Lucas Bros. Moving Co. is an animated television series created by twins Kenny and Keith Lucas of "The Lucas Brothers", a Brooklyn-based comedy duo. The series, featuring the voices of the twins as their animated counterparts, originally had them working as installers for a cable company, a job which the Lucas brothers occupied in real life. This idea was scrapped according to Keith, who felt the premise too close to that of the The Cleveland Show, another animated series aired by Fox. Kenny insisted that "moving was just more Brooklyn", a sentiment which Keith echoed, thinking that "it would be funny if we were movers because we've never moved a thing in our lives and we're so fucking weak and we hate physical labor". Keith complemented the nature of the premise, finding it to be flexible with any character or setting.
Commenting on the writing process, Keith called it "awesome", citing crew members Nick Weidenfeld, Dave Jeser and Matt Silverstein as giving them guidance. Kenny urged to "trust the process and not get ahead of yourself", while Keith recommended being patient with breaking scenes down part by part; he also called it similar to their stand-up routines, although the structure of the show made for more comfort.
Commenting on their inspirations, the brothers recognized themselves as animation fans, with Keith mentioning Clone High as one of their favorite series, along with King of the Hill and The Life & Times of Tim. Summing Lucas Bros. as an equation, the two called it "Bill & Tedplus Workaholics plus The Wire (minus the bleakness)." In the United States, the series is rated TV-14. Some jokes have been rejected by the network for content, with the brothers naming a parody of Clay Davis's character from The Wire 's elongated pronunciation of the word "shit" as an example of this.
Unlikely friends Chief Keef and Andy Milonakis have taken their hangouts to new heights -- literally -- in a brand-new music video called "G L O G A N G" featuring, among other things, Keef rapping inside an enormous Rubik's cube and an interplanetary Rolls Royce.
After meeting -- as we all do in 2015 -- via Twitter, the duo ended up in the studio together, working on a track that appeared on Keef's Sorry 4 The Weight mixtape in February. Between that track and his appearance on Gucci Mane's mixtape, the comedian has the kind of hip-hop cred most of us can only dream about.
Now, they've collaborated on this trippy, celestial video, rapping about all the classic party themes (drinking, women, drugs), all to the tune of "G L O G A N G." Watch the video below, and who knows -- Milonakis's mixtape might be the next to hit Datpiff.
First it was the outrageously hilarious "Football Cops" when Peyton and Eli Manning teamed up as a police duo to fight crime. Then came their debut rap video promoting the DirecTV mobile football app last season. The QBs released a new rap video for DirecTV Monday.
At this point, the production scene/rap lifestyle are commonplace for Peyton and Eli, as their third video in three years was released by DirecTV on August 11. This year's rap song is called "Fantasy Football Fantasy" where the two promote DirecTV NFL Sunday Ticket's new 'Fantasy Zone' channel that is dedicated to nothing but fantasy news for those participating in fantasy football.
The words used to describe the icon have a rich history that makes them even more appropriate than people realize
The world has lost a lot this week: a comedic genius, a real mensch, a sad clown. Remembrances of actor and comedian Robin Williams, who was found dead on Monday, have repeatedly summed him up with the same few words.
Some readers were learning the terms that cycled and recycled through the news. After Steve Martin tweeted his reaction to Williams’ death—“I could not be more stunned by the loss of Robin Williams, mensch, great talent, acting partner, genuine soul.”—mensch became the fifth most searched word on Google.
But even those who didn’t have to thumb through their dictionaries may be surprised to learn the history behind these suddenly ubiquitous words, much of which makes them even more appropriate for the sad task they’ve had this week.
“Robin Williams, an Improvisational Genius, Forever Present in the Moment”
— New York Times headline on August 11, 2014
In the Middle Ages, a genius was a supernatural being. In classic Latin, the word referred to the male spirit living in the head of a family, which was then passed into everyone else through him. And in the Middle Ages, genius came to describe an attendant spirit that was assigned to each person at birth, and sometimes two mutually opposed spirits (you know, the good genius and the evil genius). This same root gave rise to the word genie, like the lamp-dwelling one Williams’ voiced in Aladdin, who could be good or evil depending on who his master was.
Because a genius was to accompany people through life, fulfilling their fortunes and then escorting them off the mortal coil, the word came to refer to the essential character of someone and their natural aptitudes for things. And so writers using it now to refer to Williams’ singular talents are also, likely unknowingly, connoting a battle of the selves that geniuses have represented throughout history.
I could not be more stunned by the loss of Robin Williams, mensch, great talent, acting partner, genuine soul.
This Yiddish word is defined by the Oxford English Dictionary as a person of integrity who is morally just. But there is more to the word’s aura than that. Yiddish scholars could argue endlessly about the precise nuances, but mensch is often used to describe someone who is not only admirable but who should be emulated, a willing mentor who thinks beyond themselves in a way that shows strong character, not passivity.
Writer H.L. Mencken described a mensch this way: “an upright, honorable, decent person” and “someone of consequence.” Others argue that a mensch must be approachable and that a true mensch would never call himself a mensch, probably because he’s too busy putting the community above himself.
Like many Yiddish words, this one has been adopted into the American vernacular in a way that is evolving and richly imprecise. But most qualities assigned to the word, however Steve Martin meant it, have been reflected in other words people have recently used to describe what Williams’ was like as a family member and neighbor. The local comedy club in Mill Valley, Calif., where Williams could often be found backstage encouraging young comedians, canceled their weekly comedy night for the first time in 10 years this Tuesday, out of respect for their mensch.
The word’s origins are related to those of mannish. No, not the mannish we use now to refer to hairy or masculine folk, but a long obsolete usage. In Old English, being “mannish” meant one was of mankind, exhibiting humanity itself and human nature. And being mannish is at the heart of comedy, the quality of unspoken truths Williams’ indirectly told his audiences about, and made them laugh about, through his jokes and voices. You know, it’s funny because it’s true.
The word clown originally meant something along the lines of “lump.” From there, the word came to describe a clumsy boor or a lout—often some crass hayseed-type with no class or culture. Circa Shakespearean times, clowns evolved as fools who played up their ignorance or cultivated oddity for laughs, either in a court or on a stage. They were servants and sidekicks who might humiliate themselves, and hide their true selves, for others’ pleasure. And they could use that distance to mock more powerful figures by transforming themselves into something grotesque—and funny.
In Europe’s Romantic days, the notion of a sad clown—the type of character whose costume romantically masks inner turmoil—became popular. Part of this comes from the Italian Commedia dell’Arte theater that relied on certain stock characters that cropped up again and again. One of them was a bumpkin that actors began playing as a melancholy clown. Literary types were drawn to the sad clown as a character who was a creative master unappreciated by the public (no doubt because some of them felt that way themselves).
Certainly Robin Williams was appreciated, though perhaps not for the whole artist he might have been, after deviating from the Flubber era into more serious, darker roles. But he came to the American public as a clown. His first big part, as an alien learning human behavior on Mork & Mindy, was a creature weird and unrefined, a figure on the margins of humanity that knew life on this planet in a different way than the rest of us, in all its cruel, lovely sense and nonsense.
This is an edition of Wednesday Words, a weekly feature on language. For the previous post, click here.
The marquees of Broadway theaters will be dimmed on Wednesday, Aug. 13, at 7:45 p.m. for one minute, in honor of the comedy legend who died Monday at age 63.The comedy legend headlined several stage productions throughout his diverse career. After studying theater on scholarship at Juilliard in New York, where he spent three years under the tutelage of John Houseman and others, he co-starred in Mike Nichols' 1988 off-Broadway version of Waiting for Godot with Steve Martin; and hit Broadway in 2002 with his one-man special, Robin Williams: Live on Broadway. In 2011, he made his acting debut on the Great White Way in the title role of Rajiv Joseph’s drama Bengal Tiger at the Baghdad Zoo."Robin Williams was a comedic genius with limitless talent and stunning versatility who left this world far too early. He made an impact on everyone he met or entertained," said Charlotte St. Martin, executive director of the Broadway League. "Whether on screen or live on stage, his multifaceted talent always created memorable performances. Robin Williams will be greatly missed and our thoughts are with his family, friends and fans."