During the 1980’s, America experienced a cultural gold rush as hip-hop music and Black stand-up comedy emerged from the void created by the post-blaxploitation film era.  It would not be long before Hollywood would come knocking—loudly.

With the advent of the groundbreaking sketch comedy series, “In Living Color,” and the no-holds barred series, “Russell Simmons’ Def Comedy Jam” in the 90’s, Black and “blue” comedians who labored in local clubs now enjoyed national television exposure. Development deals were made, pilots were shot and bonafide superstars were born.

BET also threw open its doors to scores of not ready for primetime performers with its own landmark stand-up series, “Comic View.” From its stage many exceptional comics such as D.L. Hughley and Cedric The Entertainer were launched into successful mainstream careers. However, fueled by the network’s ambitious mission to produce an inordinate number of comedians each season, the talent pool became increasingly shallow.

Soon, what was once a respected platform for deserving talent became a catalyst for inferior performances and hyper-competitiveness among comedians on the comedy club circuit. Still the show remained at the top of the ratings for 13 seasons until it was cancelled in 2005.

Urban comedians displaced by the cancellation of Comic View did not have to wait long for a new home.  In 2005, music and fashion impresario created the raw and raunchy series--P. Diddy Presents The Bad Boys of Comedy. In 2006, Def Comedy Jam went back into production.  And, in 2007, stand-up veteran and former Def Comedy Jam host Martin Lawrence premiered his uncensored brainchild “1st Amendment Stand-Up.”

Opportunities for Black stand-up comedians on network television are remain few and far between. Yet there will always be “urban nights” at comedy clubs across the nation where Black performers continue to reign supreme.