Thursday, April 28, 2016


cover key and peele web

Actors/Comedians/Filmmakers KEEGAN-MICHAEL KEY and JORDAN PEELE are the notoriously popular duo, KEY & PEELE, who host the COMEDY CENTRAL show, KEY & PEELE,, have a brand-spankin' new film KEANU, that opens Friday, April 29, and they cover the new issue of ROLLING OUT Magazine!!!

Here are some interview interludes:

On how the "Mr. GARVEY" sketch addressed BLACK PEOPLE reclaiming their identity via naming their children:

“What’s interesting is if you think about it, it’s the first time something has happened like that in thousands of years where people said, ‘we are going to repurpose our own experience. [A] name such as Dejaquan is not African, it’s not American, it’s African American. In the ’60s and ‘70s, it started to become a creative thing. It’s really a uniquely American experience.”

On how the LUTHER sketch addressed BLACK MEN being perceived as an aggressive threat, how President BARACK OBAMA is not immune to that stereotype:

“The ‘Luther’ sketch was originally our attempt to say what we felt like everybody in the country was observing or thinking about the way Obama was being treated. You had Trump throwing out the birth certificate stuff and questioning Barack Obama’s citizenship. Just like those deep insults. So, for us, it was like Luther bubbled out of us as someone that can say what everybody is thinking. So we know Barack Obama is thinking it as well. If Obama gets too angry or shows too much of his aggression, people are going to think he is just an angry Black man. I think we’re still living in that country.”

On the comedic influences of RICHARD PRYOR, DAVE CHAPELLE, MARTIN LAWRENCE, GEORGE CARLIN, BILL COSBY, and the recent tragedy of Bill Cosby:

PEELE said;

“Honestly, it’s a sad and confusing situation. There is no real right way to deal with something like this. I like to think that you can enjoy comedy as something that’s universal and you can separate what you know about a person from when you listen to one of their albums. I like to think that, but I’m not going in there for some more Cosby right now.”
KEY said;
“We like to think we can be objective about the art, but it’s the same thing like the baseball records that are held by Ty Cobb. No one can top them and he was a horrible human being, so we don’t talk about the records that he still holds. I think you’re inexorably linked. Who you are as a person and how you much you give of yourself truly and authentically, will always be linked to the work that you do. I don’t know if you can separate it. You should be able to separate it like you said, I think you should be able to. It’s weird. Pablo Picasso was apparently a horrible misogynist, but people still go and celebrate the work. When it comes to Cosby, the character, the persona that we all grew to love, I think we all feel betrayed. We thought that was part of what made the comedy work and maybe it didn’t. Maybe it was just good writing. It’s tough.”
On how they hope the court of public opinion will  new the legacy of their work"
KEY said;
“If our movies and our sketches can be seen like Trains, Planes and Automobiles we’ll take that because that will never not be funny. That movie will always be funny. I’d liked the next generations to not understand what the fuss was about. That’s what I would love. I would love for them to say, ‘So it’s a comedy sketch, so it’s funny, so what?’ The most wonderful legacy would be for us to be irrelevant to the next generations, racially not comedically. I would love for the sketches to stand on their own comedically and what it made it special. And hopefully, judged by the fact that we were funny and not judged by being people of color.”



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