Blue Monday, Vol. 1: The Kids Are Alright by Chynna Clugston

By Chynna Clugston

Being could be a tough task, whatever the grownup global can by no means comprehend. whereas to her mom and dad and academics getting Adam Ant tickets isn't any huge deal, to Bleu L. Finnegan it capacity every thing. this would be the defining second of her existence, and there's no ensure that she's going to ever in achieving it. at the method, Bleu needs to care for the travails of formative years - from prank-playing, porn-addicted boys to sexist-pig radio disc jockeys to attempting to determine tips on how to exhibit that dreamy replacement instructor that she's his excellent mate. all of it culminates on that fateful evening whilst Bleu and her ally, Clover, visit the membership and check out to get in at any fee! not anything will bar Bleu from the pop idol of her goals!

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Extra info for Blue Monday, Vol. 1: The Kids Are Alright

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People are picketing and calling the health department. ’” The comic’s inclusion of references to the original reality show, Candid Camera, the iconic (if not unproblematic) Tarzan, and visions of an apolitical picket line place the bit in conversation with the early sixties social milieu (the year of the famed march on Washington); at the same time, however, the eliding of any sort of ideological commentary positions the comic’s as the friendliest of relations. Within the safety of this biblically informed bit, Cosby’s comic persona simultaneously offers a vision of the new American Negro while not pushing the audience to acknowledge the newness of the construction.

If I were to go there, they could give it back,” is cut by Cosby’s delivery, but there is more darkness in the amiable bluster. Although these almost slapstick moments in the series, as well as his exchanges with Griffin (played by Doug E. Doug), in which Cosby treads familiar ground as incredulous patriarch dealing with the lack of pragmatism and/or forethought of his (in this case, “surrogate”) child, resonate with earlier and more familiar aspects of Cosby’s televisual presence, both the series and Cosby as Hilton are far less amenable to the world in which they live.

You know what I’m gonna do with my first bowl of ice cream. I’m not gonna eat it or nothin’. I’m just gonna smear it all over my body, and then I’m gonna put a cherry in my navel. There is a “kid solidarity” that informs this world: bonds form quickly (like those between Bill the younger and his ward mate, Johnson, as they discuss postoperative ice cream consumption). On one level this kid kinship, which Cosby will explore further in his Fat Albert material, seems to simply operate on a type of childhood logic that lacks real contentiousness.

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