Several years ago, we posted a collection of humorous responses to President Obama’s change to support gay marriage. For a follow up, here are some of the humorous responses to the Supreme Court’s decision to legalize marriage across the country.
Responses seem to fall into a few general categories:
1) Celebration of the ruling
2) Comments on the Supreme Court, pro and con, but with no real connection to the recent Obamacare decision (see bottom for examples of responses to that)
3) Connections to the questions of race and the Confederate flag
4) Satire on the institution of marriage
4) Reactions of opponents
Here are a few cartoons and memes that show examples of these trends.
And here are some web-based humorous responses:
Rue Gît le Coeur: street where lies the heart. On a tiny street in Paris, about a quarter of the length of a New York City block and just a little wider than a Venice passageway, lies a minuscule hotel. Its rooms, replete with medieval-era wooden beams and matching pastoral designs on the wallpaper and curtains, are just as tiny; only one person can move around in the room at a time. The elevator, too, can manage only one person per trip. Charming and minute, there is no space in this hotel for oversized couches and exercise rooms; there is barely space enough to stretch out your arms and yawn, let alone sing.
When I visited this sequestered street last year—almost hidden in the midst of a crowded tourist district—I was amused and surprised to see the plaques, figured prominently on the hotel’s front façade, and the photographs displayed proudly in the lobby, honoring several Beat-era poets who had stayed there more than half a century ago. According to one of the plaques, William S. Burroughs supposedly wrote Naked Lunch there.
This hotel is to architecture what haiku is to literature: charming, ancient, and airtight—“no room for petty furniture,” as Emily Dickinson writes of compressed poetry. If there is a general view of Beat-era poetry, it is that it rides the force of Whitman’s barbaric yawp and delights in expansiveness, open vistas, and freedom. So it is a little unexpected and amusing to imagine multiple Beat poets writing productively in this very cozy, well-appointed hotel, just as there is something unexpected about the Beat poet who ventures into the space of haiku.
Jack Kerouac did not join his colleagues at this hotel, but he did spend considerable time within the small chamber of the haiku, testing its edges, poking fun at its purpose, and stumbling into very sweet encounters with its essence. Yet what stands out in his playful attempts with the form (which he renamed “Pop”) is their humor.
In his Book of Haikus, edited in 2003 by Regina Weinreich, Kerouac toys with nature. In the Japanese tradition of seventeenth-century poet Matsuo Basho, haiku juxtaposes something man-made with something from the natural world. Generally in Basho’s poetry, nature complements if not soothes loneliness.
without flowers or moon
one is alone.
(Matsuo Basho, The Complete Haiku, translated by Jane Reichhold (Tokyo: Kodansha International, 2008)
However, in Kerouac’s haiku, man and nature collide, confront one another, or fumble towards connection.
A raindrop from
Fell in my beer
(New York: Penguin Poets, 2003), 30
Where Basho’s natural elements blend with or serve to illuminate the human situations in his haiku, Kerouac’s speakers sometimes come off as annoyed with nature.
don’t be like me
even though we’re like the melon
split in two.
Nature is a not a metaphor in Kerouac’s haiku, but an encounter—even a clash:
Bee, why are you
staring at me?
I’m not a flower!
The earth winked
In the john
In his imitations of the Japanese model, Kerouac produces humor by reversing the direction of the metaphor: human experience is no longer compared to something beautiful in nature; rather, nature interferes with or is pitted against man-made entities.
John Oliver got rid of Sepp Blatter. That would be a bold statement if I cared at all about Sepp Blatter or FIFA. I do not. I do care, however, about John Oliver, my favorite funny person from Great Britain (currently; it is a long list). More importantly, for this venue, is the contribution that John Oliver with his work on Last Week Tonight with John Oliver (HBO) is making to American humor. As one who has been distraught over the loss of The Colbert Report and the impending departure of Jon Stewart from The Daily Show, I have been worried that we were facing the end of a golden age in American television political and social satire. I think it will last a bit longer, and I am sure that John Oliver is key to its future.
The Nightly Show with Larry Wilmore is solid, and Trevor Noah may prove to reinvigorate the Daily Show, so my worries may be overblown. It is Last Week Tonight, however, that holds the most promise. Quite simply, it transforms the basic formula codified by The Daily Show under Jon Stewart (and applied to a specific parodic context by Colbert) and makes it decidedly more argumentative. Last Week Tonight is thesis-driven humor, which marks a dramatic shift in ambition, or, perhaps, confidence. In either case, Oliver will not admit it.
Oliver is nonetheless catching fire. On a recent appearance on CBS This Morning , Charlie Rose asked one question that seemed clear and concise (if you can believe it): “What is the intent of this ‘dumb’ show?” (Oliver had already called it “dumb” based on the introductory clips).
“Just to make people laugh.” OK, John, you get a pass since this is the standard answer for any such discussion of humor. Why a duck? Because ducks are funny, that’s why. But you are lying.
Oliver’s self-deprecation notwithstanding, the fact is that no one in American television has ever put together satirically charged arguments in segments ranging from 12 to 20 minutes (easily 2 to 4 times as long as standard Daily Show bits) that are focused on one issue with such depth and humor. Never. There are easier ways to make people laugh.
In the interview, Oliver would not assert a more elaborate purpose and underplayed any major role for satire itself. As to whether satire served a deeper purpose in his work, he simply said, “I have no idea. Ideally, satire would do no better than anyone.” He went on to explain the show’s long form, weekly approach: “It’s some slow cooking, what we do.”
Yes, slow cooking. It took a year to get Sepp Blatter. That is the pace of satire. C’mon, John, admit it.
To begin a closer look at the Last Week Tonight formula, let’s stick with Blatter and the two episodes that most directly skewer FIFA, the first of which aired on 8 June 2014 and the second on 1 June 2015. A brief look at these two episodes should provide a good indication of the power of Oliver’s thesis-driven comedy and the potential of long-form television satire. Both episodes feature FIFA as the main topic, and each segment runs just over 13 minutes. Here are links to each:
The key to Oliver’s approach could be understood best, perhaps, by considering it as a model for clear, argumentative writing. In fact, I urge all freshman composition instructors in the nation to drop all textbooks and simply use Last Week Tonight to teach the modes of argumentative writing. Let’s consider the most basic element of building effective arguments: Write clear and concise topic sentences. Note the few examples below:
–“FIFA is a comically grotesque organization.” (8 June 2014).
–“There is a certain irony in FIFA setting up any kind of justice system given the scandals that have dogged it over the years.” (8 June 2014).
–“The problem is: all the arrests in the world are going to change nothing as long as Blatter is still there.” (1 June 2015)
–“When your rainy day fund is so big that you’ve got to check it for swimming cartoon ducks, you might not be a non-profit anymore.” (8 June 2014)
–“Peanut butter and jelly are supposed to go together; FIFA and bribery should go together like peanut butter and a child with a deadly nut allergy.” (8 June 2014)
–“That is perfect because hotel sheets are very much like FIFA officials; they really should be clean, but they are actually unspeakably filthy, and deep down everybody knows that.” (1 June 2015)
Note the clarity of the argumentative position in each statement above. They assert positions, all followed by multiple levels of support within the show (follow the links). That, dear readers, is how you build good essays! It is also how to build fresh, ambitious humor.