Skip to main content

Eddie Murphy calls his old stand-up jokes about gay people 'cringey': 'Oh my God, I can't believe I said that'



#EddieMurphy  #SNL #Stand_Up #Homophobicjokes
His much-lauded return to Saturday Night Live  saw Eddie Murphy revisiting some of the most popular characters from his past, including Mr. Robinson and Gumby. In a new interview with CBS Sunday Morning, the comedian is taking another look back — but this time, it’s at some of the problematic jokes that haven’t aged so well.
In a conversation with CBS’s Tracy Smith, the 58-year-old star was asked to reflect on homophobic jokes he included in his ‘80s stand-up routines, including a bit about having “nightmares about gay people” in 1983’s Delirious. While Murphy told Smith that he still finds “some” of his old material to be funny, not everything has held up.
“Some of it, I cringe when I watch," he admitted. "I'm like, oh my God, I can't believe I said that!"




Eddie Murphy is reflecting on some of his most controversial jokes.
Eddie Murphy is reflecting on some of his most controversial jokes.
He added that he was unfazed, at the time, when his jokes about AIDS and gay people received backlash.
“In the moment, you kind of was like, hey, it is what it is, you know?" he told Smith.
In the years since, however, the father of 10 has expressed remorse for this tone-deaf humor. In 1996, he released a statement saying that he “deeply regrets any pain all this has caused.”
“Just like the rest of the world, I am more educated about AIDS in 1996 than I was in 1981,” he said of his early comedy. “I think it is unfair to take the words of a misinformed 21-year-old and apply them to an informed 35-year-old man. I know how serious an issue AIDS is the world over. I know that AIDS isn’t funny. It’s 1996 and I’m a lot smarter about AIDS now.”
Speaking to Smith, the star of Trading Places and Dolemite is My Name admitted that, despite the “cringey” material, he sees it as a product of both his age and the less progressive culture at the time.
"I've seen stuff that I'll go, like, oh, that's, ooh, yeah, you'll get a joke that's cringey,” Murphy said. “But that's not to say that I don't appreciate it. I still appreciate it. And I'm looking at it within the context of the times, you know. And I'm going, OK, I'm a kid, saying that."
The comedy legend told the New York Times earlier this year that he was “a young guy processing a broken heart, you know, kind of an a*****e” at the time of his 1987 special, Raw.
By Erin Donnelly -yahoo.com

Comments

Popular posts from this blog

FLIGHT FACILITIES (Hugo) b2b TOUCH SENSITIVE in The Lab

#Deep_house #HouseMusic #HouseGrooves #Melodic #Electronic #djset #FlightFacilities #TouchSensitive An immaculate selection of disco and killer house grooves by Hugo (Flight Facilities) and Touch Sensitive. website: http://www.flightfacilities.com Youtube http://smarturl.it/SubscribeFF Facebook: http://www.facebook.com/flightfacilities Twitter: http://twitter.com/flightfac Soundcloud: http://soundcloud.com/flightfacilities Instagram: http://instagram.com/flightfac

Homecoming: A Film By Beyoncé | Official Trailer | Netflix

#Beyoncé, #Coachella, #Homecoming, #Netflix, This intimate, in-depth look at Beyoncé's celebrated 2018 Coachella performance reveals the emotional road from creative concept to a cultural movement. Premiering April 17. Only on Netflix. Published on Apr 8, 2019

Kate Bush, The Dreaming : A Pitchfork Review

#KateBush # WutheringHeights # Lionheart # NeverforEver #TheDreaming In 1982, Kate Bush’s daring and dense fourth album marked her transformation into a fearless experimental artist who was legible, audibly very queer, and very obviously in love with pop music. In 1978, Kate Bush first hit the UK pop charts with “Wuthering Heights” off her romantic, ambitious progressive pop debut The Kick Inside. That same year, her more confident, somewhat disappointing follow-up Lionheart and 1980’s Never for Ever had a grip of charting singles that further grew her UK success without achieving mega-stardom—she barely cracked into American college rock. What is truly amazing between the first chapter of her career and the new one that began with 1982’s The Dreaming is how consistently Bush avoided the musical world around her, preferring to hone and blend her literary, film, and musical inspirations (Elton John, David Bowie, and Pink Floyd) into the idiosyncratic perfection that was 1985’s Ho