Robert A. George's ruminations on politics, race, pop culture, sports, comic books & various other sundry temptations of the human condition. Yes, he writes for the New York Post, but the views here are solely his own.
Comedy matters in our political life – and it should respect no sacred cows
PHOTO:Martin H. Simon/Landov
In 2012, at the intersection of comedy and politics, one is just as likely to find a punching bag as a punch line. Just ask Jimmy Kimmel, who headlines tonight’s White House Correspondents’ Dinner.
The ABC late-night host made the critical error Wednesday, telling Reuters that “it’s hard to make fun of Obama in general because he’s a cool character. Outside of his ears, there’s not a whole lot.”
Given that attitude, one assumes that much of the political humor at what has come to be known as Washington, D.C.’s annual “Nerd Prom” will be at the expense of — surprise! — Republicans (and conservatives)! Sure enough, in the same interview, Kimmel previewed six jokes about GOPers, including favorite whipping girl Sarah Palin (who didn’t run this year) and Supreme Court Justice Antonin Scalia (hardly a household name).
Ideology aside, Kimmel arguably broke a cardinal rule of comedy: There can be no sacred cows. If certain public figures are seen as “cool,” that should be all the more reason to double up and find ways to poke fun at them.
Besides, despite President Obama’s “slow-jamming” the news Tuesday night with Kimmel’s NBC late-night rival Jimmy Fallon, it’s hard to give the POTUS a pass on the “coolness” factor. Has Kimmel so soon forgotten the image of Obama throwing out the first pitch at the 2009 All-Star Game wearing — gasp! — “mom jeans”!?!
Or how about his urging young urban men to “pull up their pants”?
Cool? Well, in a Cliff Huxtable sort of way (a comparison “Saturday Night Live” noted earlier this year).
Even if a comic agrees with a president ideologically, he can’t let that get in the way of giving the appropriate mocking that all in power deserve. Last year, Kimmel’s WHCD predecessor, Seth Meyers — head writer on “SNL” — figured this out: “You know who could beat Obama in 2012? Obama from 2008,” he said, turning to Obama on the dais. “You would love him.” Without being insulting, Meyers wittily expressed the frustrations of many Americans. Jimmy K., take note.
But does any of this really matter in the end? After all, it’s just comedy, right? Must we take it so seriously?
Oh, most definitely.
More than ever before, comedy is a valuable tool in the political and cultural message wars. Obama used his “stand-up” turn at 2011’s WHCD to simultaneously humiliate Donald Trump and essentially destroy the “birther” meme.
More significantly, Comedy Central’s Jon Stewart and Stephen Colbert have turned the art of political comedy and satire into a force independent of the traditional news media — yet able nonetheless to influence it. In our post-modern century, many young people now only learn about a political issue after Stewart and Colbert have mocked it. Stewart often uses his “Daily Show” platform to deconstruct political narratives — and then engages in serious debate with his conservative frenemy Bill O’Reilly on the latter’s talk show.
Colbert launched his own “super PAC” — Americans For A Better Tomorrow Tomorrow — to mock the big-money nature of politics.
From the conservative standpoint, Rush Limbaugh’s success for two decades stems from his use of a tactic similar to Stewart and Colbert: being knowledgeable enough about politics and policy so he can effectively skewer the pre- and mis-conceptions of the mainstream media.
But this approach has limits, as seen in the uproar over Limbaugh’s “prostitute” comments about Georgetown law student Sandra Fluke during the birth-control funding debate. Limbaugh was forced to apologize and (temporarily) lost some advertisers.
But the fallout in the broader comedy-political world couldn’t be ignored. Once Limbaugh was chastened, a pound of flesh had to be taken elsewhere. And so, liberal-ish Louis CK’s decidedly non-PC jokes about women caused enough controversy that he withdrew as the entertainment for the Radio & TV Correspondent’s Dinner (the WHCD’s less glamorous cousin). Liberal comedian Bill Maher came under plenty of fire as well.
All of this exposes an obvious reality: While conservatives have long dominated talk radio, liberals have had the upper hand in the comedy part of popular culture. Kimmel’s implicit kowtowing to Obama just highlights that.
So hungry are conservatives for an alternative to the Stewart/Colbert hegemony that many can be found still up as late as 3 a.m. EST weeknights to tune into the sardonic libertarian mockery of Fox News Channel’s “Red Eye.” (Fox shares a parent company with The Daily.)
Eschewing the “fake news” approach of Stewart and Colbert, host Greg Gutfeld, sidekick Andy Levy and rotating guests take snarky approaches to politics and current events. Levy quickly noted after Kimmel’s comment about Obama that a “cool” president wouldn’t raid marijuana dispensaries or still be “evolving” on gay marriage. (Full disclosure: This author has appeared on “Red Eye.”)
In addition to “Red Eye” — and conservative humor sites like Iowahawk and Duh Progressive — a handful of “SNL” veterans in recent years have “come out of the closet” as conservatives (or at least non-liberal). They include Victoria Jackson, now a tea party activist; Dennis Miller, now a radio host; and, arguably, anti-liberals Norm MacDonald and Colin Quinn. And this week, an audio clip of Jon Lovitz profanely slamming Obama over his soak-the-rich policies went viral.
Regardless of who headlines the “Nerd Prom” each year, clearly one major “benefit” of America’s currently polarized politics is humor and mockery coming from more directions than ever before.
That’s definitely something worth smiling about.
Robert A. George is a New York Post editorial writer and occasional stand-up comic.
The president's White House Correspondents Dinner stand-up routine is here. He was very good -- one of the better political comedic performances I've seen. (Wanda Sykes' otherwise good performance was marred by a tasteless joke near the end about Rush Limbaugh's kidneys failing. Sykes is a good enough comic to know that wishing someone dead just isn't funny. Jokes about Limbaugh's Oxycontin addiction, now that is fair game -- and any conservatives upset about that need to get over it.)
One thing I've noticed about Obama is that he (or his joke-writers) have a rather ironic idea of what "self-deprecating" humor is. For this president, the self-deprecation is in recognizing how, uh, awesome the Obama White House. For example: "During the second 100 days, we will design, build and open a library dedicated to my first 100 days." He followed that up with, "I believe that my next 100 days will be so successful, I will be able to complete them in 72 days -- and on the 73rd day I will rest."
This isn't the first time that Obama has used a joke to allude to himself (or his administration) in Biblical terms. Again, from the Al Smith dinner:
Even though it does no real good to overanalyze humor (sometimes a cigar is just a cigar), Obama's approach does confirm something I've noted before about Obama Era comedy: Boomer presidents Clinton and Bush allowed themselves to become the punchlines for all sorts of jokes: Clinton helped feed the lady-lovin' Bubba rogue image by making jokes about putting astroturf in his pick-up; Bush joked about being a C-student. The media (and late-night comics) followed those cues and treated the presidents accordingly.
At the WHCD, Bush even went so far to do a filmed skit of himself walking around on his hands and knees looking for weapons of mass destruction; Clinton, of course, once did a routine based on Ken Starr's investigation. It's early, but this administration doesn't play that way. The closest Obama got to a "dig" at himself was in the "three commerce secretaries" line. Heck, even the biggest PR disaster -- the Air Force One Manhattan flyover -- was "blamed" on Sasha and Malia!
This isn't an attack on the president's humor, but just an observation.
The only criticism I might put down is a technical performance-related caveat: This is the second time I've seen Obama do planned comedy; the first was at the Al Smith charity dinner in New York before the election: His timing is good with respect to the material (that was especially notable Saturday evening) when he used body-language to accent his "hip-hop lingo" joke about/with Michael Steele. However, he has yet to master the talent of being so comfortable with the material that he doesn't look like he's seeing/reading it for the first time.
The president has a "tell" where he ends up cracking himself up with his own jokes -- which you'll do if you're not as familiar with it as you should be. Now, this doesn't mean that you shouldn't smile during stand-up. Sure, definitely, but a deadpan "straight" delivery can often make a generally funny routine hilarious. In fact, that's one reason why John McCain was much funnier than Obama at the aforementioned Al Smith dinner.
For those folks who thought that Saturday Night Live had completely gone into the tank for Hillary after the media appeared to go completely into the tank for Obama (after being completely in the tank for McCain in 2000)...a slightly differnt approach in this week's episode:
Between Michael Richards and Don Imus, there's been a fair bit of controversy over the last several months on what words can be used, by whom and in what setting. Well, this video helps clarify things with respect to that word that got Kramer in trouble (white people, please pay close attenion):
I met stand-up comedian Richard Jeni about 15 years ago. For some odd reason, he was part of the entertainment hired by the Republican National Committee for its annual Gala fundraising event. Anyway, one of my colleagues, Brian Walsh, was in charge of chauffering Jeni around.
After the big event (memory fails me as to whether it was the same week or shortly thereafter), Jeni was appearing in a D.C. club somewhere and he provided comp tickets for Brian and myself.
We went to the show (one of only a handful of live comedy shows I had seen at that point). He was very funny -- far more "adult" in his humor than at the RNC gala (big surprise). He was something of crude version of Tim Allen -- or Chris Rock without the social commentary. In short, mostly kind of a blue-collar look at male-female relationships. Elayne Boosler captures the flavor of his stuff.
I remember laughing a lot. I also remember Brian chatting with Jeni after the show and asking him if he wanted to catch a drink with us; Jeni declined, saying that he had his eye on one of the ladies in the audience (a message delivered in slightly cruder terms, if memory serves).
Anyway, I didn't closely follow his career after that, but would occasionally catch him on HBO or Comedy Central and stop for a moment to listen to one of his routines. He seemed to have made a rather successful career in the tough world of stand-up comedy.
And now, I learn he committed suicide over the weekend.
Indeed, Pryor insisted that Mooney's work be added to the regular "Saturday Night Live" stable when he hosted the show for the first time; it was the only time that SNL allowed a host to bring in his own writer. That was the episode which featured the legendary (Mooney-written) Pryor-Chevy Chase insult trade-off. Mooney went on to write for "In Living Color" and Dave Chappelle.
If there is anyone that managed to take the N-word to creative heights, it would have to be Mooney. One can't ever sugarcoat the experience of a Mooney comedy show. It's very disturbing whether one is white or black. But, it is true social satire with a very sharp point.
AP: You helped pioneer the use of the n-word in black comedy many years ago, didn't you?
Mooney: Oh yeah. I had a romance with the word. I worked with Richard Pryor using the word. It was so destructive - it was created by whites to hurt and destroy - and we were trying to defuse it, trying to desensitize people to it. We did it every chance we got, we would drive people crazy. We were very funny at it. But Richard backed off the word in the early 1980s. He went to Africa and came back and said he didn't see any n-people there. But I said, 'That's him, that's not me.' I was very much into it like an alcoholic was into (liquor).
AP: Any idea how many times you've used the word?
Mooney: Oh, honey, you can't count it! If I had a dollar for every time I used the n-word I'd be a billionaire.
.................
AP: So, what happened last week? You heard about Richards at the Laugh Factory - he was caught on tape attacking black audience members.
Mooney: I have known Michael Richards for something like 20 years. We're friends. But I heard about the tape and I said, 'That doesn't sound like a comic routine. That sounds like a breakdown.' Then I saw the tape and I had an out of body experience. It was so ugly, so horrible. I hadn't heard (the n-word) like this - from someone I knew. Suddenly, I was directly connected. I was able to look at it not just through my eyes but through the eyes of the world. I had always thought it was endearing. It's NOT. It's not an equal opportunity word. I don't want everyone running around saying it.
.......................
AP: Do you think your comedy will suffer - can you be as edgy without the shock value of the word? I mean, you've used it constantly for so long.
Mooney: I'm an n-word alcoholic and I will not be drinking from the n-bar. I will say 'black' or I will say 'African American.'
AP: Can you tell me a joke that you've told in the past with the n-word and show me how you'll change it?
Mooney: There was a white lady baking a cake for her little white son. She turned her back and he took the chocolate icing and smeared it on his face and said, "Mommy, look! I'm black!" She slaps him and says, "Don't ever do that again. Now go tell your father what you did." So the boy goes to his father and does the same thing and gets slapped again. The father sends him to his grandfather and he does it again and the grandfather slaps him, too. So the boy goes back to his mother and she says, "Well, Timmy, what have you learned today?" He says, "I learned I've only been black five minutes and I already hate white people."
AP: Ha!
Mooney: Believe me, it will get just as big a laugh. Oh yeah, honey, it's a new Mooney. And another thing - I will not be using the b-word (to refer to women) anymore either.
AP: Oh?
Mooney: I'll say 'heifer' instead. In my wildest dreams, I never thought I'd be saying this, but it's a whole new world. A new time. I can't change the past, but one person can change the future - anything can happen. I'm taking my stand.
But, for those who've seen him, the idea of an "N-word"-less Mooney show would be like Bill Maher hosting his show for the last six years -- and not mentioning George W. Bush.
It seems impossible; it is what has made him. Mooney can say that he used it likes an alcoholic, but the truth is, a Mooney show was an exegesis on one of the most controversial taboo words in American history. Seeing and hearing Mooney made one recognize the banality of the average rappers use of the word.
Now, don't get me wrong, Mooney can still be funny without using the N-word or any curse words -- as seen in this clip from his appearance on Greta Van Susteren.
However, there is more to what Mooney does than just tell jokes -- in the same way that comics such as Pryor, Lenny Bruce, George Carlin, Chris Rock do more than just "tell jokes." It is observational humor about politics and social mores going beyond simple relationships and family structure.
The joke that he makes above about the kid and the chocolate cake is still funny, but it is funnier when the N-word is used. Furthermore, there are parts of his act which revolve around the power of the word -- such as, "I say 'nigger' as much as I can because it makes my teeth whiten."
Anyway, I was curious to see what a "nigger-free" Mooney show would seem like. This was his first weekend of performances
Anyone who's seen him before can tell the difference between this Mooney and the man of yore.
As he said, he now just uses "black man" or "African-American." His famed "Nigger Wake-Up Call" routine (the moment when a 'celebrity' or 'buppie" black person suddenly realizes his true status in American society) has been replaced with a sanitized "wake-up call." Take my word for it; it doesn't have the same impact. There are parts that are still quite funny, but it sounds like one's favorite band playing a show where the guitars are slightly out of tune.
But what struck me as most tragic was that Mooney had allowed Michael Richards' "breakdown" (as Mooney refers to it) to emasculate Paul Mooney the wrathful social observer.
The commenter on all these fascinating celebrity shenanigans and their racial subtext was struck dumb when it came to the most blatant use of it publicly in decades. A has-been named Michael Richards killed the beastly Paul Mooney - and it is a tragic loss.
I am not a native-born American. I can't say that I've grown up and lived the same sort of American life that Paul Mooney has.
While I can respect this decision to stop using the word, I feel he owes it to the audience that has supported him for years to explain himself. He was the man who had elevated the word to a existential height forcing people to think about it.
Now, he doesn't even reference once -- in his act -- his decision NOT to use it? And "why?"
Indeed, he didn't even reference the Richards incident AT ALL (Oh, and despite what he said in the interview above, he did use the word "bitch"). He can talk about Nicole Richie's arrest, Britney Spears and Lindsay Lohan's problems, plus various racial situations going back years -- but he can't even MENTION the Richards incident?
The worst thing a comedian can be is dishonest. And Paul Mooney was being dishonest with his audience Sunday night. And will continue to be if he chooses to not merely no longer use the "word", but even avoid discussing the incident that has forced him to make the biggest creative decision of his entire life.
Sad.
And ironic too: The man who created the "nigger wake-up call" has chosen to take a "Kramer sleeping pill."
UPDATE: BET.com's Jennifer Daniels is much harsher on Mooney and has a much lower opinion of his talent than I. However, she comes to a similar conclusion about his sincerity:
Don't get me wrong – I applaud your decision. I just question your reasons behind it.
It would be one thing if you'd have some life-changing experience, like Richard Pryor, or if you were forced to re-examine your material like Dave Chappelle, or if you had a skit that caught fire and you had White people in your face, like Chris Rock. Maybe you just needed another reason to be on television, since Chappelle's meltdown put you off the air. I guess that's as good a reason as any. Something about a television camera in a person's face that always seems to make one have an epiphany.
But if it's one thing about Black folks, it's this: We know when someone is being less than sincere. We've had a lifetime of having to measure good intentions from dealing with White people, so we can spot a fraud amongst our own right away. You've made a rather bold resolution, just weeks before the New Year. Only time will tell if you'll stick by it – or if you ever intended to. Good luck to you if you did. God help you if you didn't.
UPDATE: Another outlet for topical humor, SNL's "Weekend Update," makes use of the "Kramer" incident in a different, but hilariously funny way. It also is more evidence that this has been one of the more consistently funny "Saturday Night Live" seasons in some time.
Friday and Saturday night, your humble (sort-of) blogger can be found improvising in the Flatiron/Chelsea area of New York City.
If you're in the neighborhood, drop on by!
THE YE
S SHOW
Short form improvised scenes and songs using your suggestions.
Friday, December 15th Saturday, December 16th 8 pm $15 (general seating) @ Stonestreet Studios 48 West 21st Street, 8th Floor Directed by Ralph Buckley