It’s here. The event of the century. The one we’ve all been waiting for with dread.
Trump Planning To Throw Lie About Immigrant Crime Rate Out There Early In Debate To Gauge How Much He Can Get Away With
HEMPSTEAD, NY—Saying he would probably introduce the falsehood in his opening statement or perhaps during his response to the night’s first question, Republican nominee Donald Trump reported Monday he was planning to throw out a blatant lie about the level of crime committed by immigrants early in the first presidential debate to gauge how much he’d be allowed to get away with. More…
With over a hundred million people projected to watch the debate, roughly sixty million of them will be barely sentient after ingesting what they deem to be the necessary dose of intoxicants. More…
Standing slightly crouched with her fists raised up in front of her in the middle of her campaign office’s mock stage, a blindfolded Hillary Clinton reportedly implored her high-level staffers to attack her with talking points from all sides Wednesday in preparation for next week’s first presidential debate. More…
“You just watch, folks,” Trump told supporters in Toledo, Ohio. “Crooked Hillary is going to slip in little facts all night long, and that’s how she’s going to try to rig the thing.” More…
Stay safe out there.
“Of the 2,000 individuals surveyed, we found that nearly nine in 10 said they would be watching tonight’s debate on the off-chance that they might get to witness the roof of Hofstra University’s Hagedorn Hall suddenly cave in and crush the nominees for president,” said Quinnipiac spokesman Michael Jovan.
“So, just as a recap: You had numerous options and a full year to decide on the candidates you wanted to be your next president, and these were the two you picked. These two. Right here. All right, now let’s begin.”
Since the days the Toast of the Town and the Texaco Star Theater late-night talk shows have, under the guidance of television legends like Johnny Carson, Dick Cavett, and Merv Griffin, evolved into a humor institution in the United States. Late-night talk shows enjoy a very public and influential position in American life, which is why controversies within the subject have such a significant news value. When Carson, the King of Late Night, quit the choice of replacement caused a rift between Jay Leno and David Letterman that was covered by the press and actually resulted in a HBO film adaptation. Some two decades later, when Leno asked for his show back months after retiring and handing the show over to Conan O’Brien, the fight was again fought out in public. Given their roles as the nation’s public humor institutions, late-night talk shows are also attractive for presidential candidates hoping to form their image in a light setting.
Back in 2012 President Barack Obama joined Jimmy Fallon on the Tonight Show for an interview and a segment called Slow Jam the News, where he recited news while Fallon provided comedic commentary and his house band The Roots provided a smooth musical soundtrack. The appearance was hailed by the audience but criticized by conservative commentators. Gretchen Carlson on Fox News lamented how the appearance “lowers the status of the office” and called it “nutso”.
Similarly, when Obama recently visited Jimmy Kimmel Live! he participated in one of the show’s most popular comedy segments: Mean Tweets. The bit is very simple, a celebrity reads actual negative messages directed at them on Twitter while Everybody Hurts by R.E.M. plays in the background. While the appearance was incredibly popular, drawing millions of views on YouTube, some found it unworthy of the presidency.
When will we get a President who is more like a behind the scenes CEO and not a megalomaniacal elected dictator obsessed with fame and public image?”
Yet late-night television appearances have long been a part of the political sphere. Going back to 1960, both John F. Kennedy and Richard Nixon visited Jack Paar on the Tonight Show. Ronald Reagan appeared on The Tonight Show with Johnny Carson in the run-up to his campaign to unseat Gerald Ford as the Republican nominee in 1976. When Bill Clinton came on The Arsenio Hall Show and showed off his saxophone talent, political commentators accused him of demeaning the presidency, yet the appearance came to shape his image as a relatable leader. The same quality helped George W. Bush 8 years later, as he showed off his folksy side in late-night chats.
Like it or not late-night television is an appreciated domain for politicians seeking or holding the highest office. This has been especially clear this autumn as the race for the 2016 election is moving into high gear. Since the end of August a presidential contender has appeared on one of the main late-night talk shows a total of 14 times (as of October 28, 2015). The number can be viewed as both high (roughly every third night of late-night, there is a candidate campaigning) and low (when combining the Democratic and Republican fields the candidates, including the ones who have now dropped out, exceed twenty). There is clear patterns visible in these appearances; the bulk of them are on Stephen Colbert’s new Late Show (5) or Comedy Central’s two late-night shows (3). Neither James Corden nor Conan O’Brien have hosted any candidates this fall and Kimmel has only had Bernie Sanders on. It is clear that Colbert is staying with what he knows and is making his domain one far more political than his late-night competition (besides the presidential candidates he has hosted the First Lady, Secretary of State John Kerry, Senators John McCain and Elizabeth Warren, and even Supreme Court Justice Stephen Breyer). Despite the far broader Republican field they have only one more appearance on late-night thus far this autumn, with five candidates appearing twice; Secretary Hillary Clinton, Governor Martin O’Malley, Senator Bernie Sanders, Governor Chris Christie, and of course Donald Trump.
With the exception of the late-night veteran Trump, the only candidate from the conservative wing who has entered the lion’s den is Senator Ted Cruz. For late-night remains a space that can be uncomfortable for conservatives, and indeed Cruz was booed by the studio audience for his conservative views. Stephen Colbert pleaded with the audience to show Cruz respect as an invited guest and has taken decisive steps for partisan balance among his guests. But it is clear that the arena is far more risky for conservative candidates than moderate or liberal ones.
For more commentary on the 2016 elections, check out the interdisciplinary election podcast Campaign Context at www.campaigncontext.wordpress.com.
Even though it is still some 16 months to the 2016 presidential elections the campaign is already well under way with most candidates officially declared as candidates. With any presidential campaign comes great humor, something Jon Stewart has brilliantly reminded us of for the last 16 years. One aspect of the campaigns which often provide a few chuckles are election adverts. Most of these laughs seem to be inadvertent, like that of Senator Ted Cruz who claimed to almost have fallen out of his chair laughing when he saw a pro-Hillary ad made by a Super PACs in which an unidentified cowboy sang a country song about standing with Hillary. Or when Senate Majority Leader Mitch McConnell released video material online in 2014, apparently for the use of Super PACs, and Jon Stewart pounced on the opportunity to create the trending hashtag “mcconnelling” where the video is set to a humorous choice of music. In her authoritative book on presidential campaign advertising Kathleen Hall Jamieson points out an earlier example where Eisenhower proclaimed that his wife, Mamie, “gets after me about the high cost of living. It’s another reason why I say, it’s time for a change.”
Yet, as long as there has been political television ads, there has also been attempts at deliberatively funny election ads. Among the first is an ad by Adlai Stevenson’s campaign in 1952 where he suggests a bromance between the moderate Republican candidate Dwight Eisenhower and defeated conservative candidate Robert A. Taft. The ad is meant to link the former to the latter’s policies by having two syrupy voices infatuated call out the names Ike and Bob to each other.
The most common use of humor in campaign ads are attempts at ridicule. The most notable example, and probably the most effective example as well, is the 1988 ad that showed the Democratic candidate Michael Dukakis driving around in a tank while a voice-over details his weak record on defense. The ad, which The Washington Post recently described as “the stuff of legend in campaign circles”, made perfect use of the juxtaposition of the visual material and the message. Dukakis is driving around in circles in a tank in what appears to be an empty field. Most damning, Dukakis, smiling broadly, looks inescapably silly with a funny-looking helmet and an army-green jumpsuit over his, still visible, suit and tie. Attempts to replicate the successful ad include one from 2004 featuring Democratic candidate John Kerry windsurfing while the narration portrays him as a flip-flopper. Since at least the days of Abraham Lincoln the issue of changing positions and thus poor credibility has been politically dangerous and with the advent of television the issue has been the source of many humorous ads. One of the best known is visually simple, putting the face of Republican candidate Richard Nixon on a weathervane while a narrator lists his changing positions. Four years later, Nixon returned the favor by putting a poster of Democratic candidate George McGovern on both sides of a pole and turning it around after every changing position the voice-over details. The same idea was driven home in an ad by the George H. W. Bush team in 1992 that explains the contradictory positions of two undisclosed candidates before revealing that both are Bill Clinton. Making the ad extra funny is a zinger at the end of the ad, Clinton commenting that “there is a simple explanation for why this happened.”
Another prevalent theme in humorous campaign ads, especially during the last two decades, is to present statements by the opponent and then question them in a style reminiscent of the popular SNL sketch “Really with Seth and Amy”. The best example is an ad from the 2000 election that features a snippet of Al Gore stating “I took the initiative, in creating the internet.” The female voice-over comments “Yeah, and I invented the remote control, too.” The line “Oh, really?” returns in a curious 2004 ad produced in the visual style of the spy comedy Austin Powers, with the film’s star Mike Myers providing a narration questioning John Kerry’s comments. A Kerry ad from the same election features the “Oh Really?” in bold letters in response to George W. Bush’s claims about the turning the corner.
As with editorial cartoons the humorous ads work best in cases where they only need to remind voters of worries they already have about a certain candidate, instead of actually planting new ideas. I will try to illustrate this last point with two ads. In 1956 the democrats aired an ad with a picture of Vice-president Nixon and a narrator asking “nervous about Nixon? President Nixon?”. The ad is short and to the point but neither humorous nor very persuasive. Making the same point, an ad from 1968 features a man laughing while a pan-out of a television screen reveals the question “Agnew for Vice-President?”. In the end the man’s laughter turns into violent coughing and the text “this would be funny if it weren’t so serious” appears. By adopting laughter the ad illustrates the silliness of the idea of the inexperienced Maryland Governor Spiro Agnew a heartbeat away from the presidency in a way far more convincing than the Nixon ad from 12 years earlier. This shows how and why humor, while hard to wield, can indeed be a useful political tool.
I don’t know what to say about Michael Collier‘s poetry. but I do know that if this particular poem belongs on our blog, today is the day.
Sinister, surreal, postmodern and . . . conceptually funny. . . love it or hate it, that’s up to you!
Collier is the director of the Bread Loaf Writers’ Conference, and teaches in the creative writing program at the University of Maryland. He is also the poetry editorial consultant for Houghton Mifflin (now Houghton Mifflin Harcourt).
In his own words, “I think poetry does have this ability to help us deal with things that aren’t black and white and make our thinking more subtle.”
A few of us—Hillary Clinton, Vlad Dracula,
Oprah Winfrey, and Trotsky—peer through
the kitchen window at a raccoon perched
outside on a picnic table where it picks
over chips, veggies, olives, and a chunk of pâte.
Behind us others crowd the hallway, many more
dance in the living room. Trotsky fusses with the bloody
screwdriver puttied to her forehead.
Hillary Clinton, whose voice is the rumble
of a bowling ball, whose hands are hairy
to the third knuckle, lifts his rubber chin to announce,
“What a perfect mask it has!” While the Count
whistling through his plastic fangs says, “Oh,
and a nose like a chef.” Then one by one
the other masks join in: “Tail of a gambler,”
“a swashbuckler’s hips,” “feet of a cat burglar.”
Trotsky scratches herself beneath her skirt
and Hillary, whose lederhosen are so tight they form a codpiece,
wraps his legs around Trotsky’s leg and humps like a dog.
Dracula and Oprah, the married hosts, hold hands
and then let go. Meanwhile the raccoon squats on
the gherkins, extracts pimentos from olives, and sniffs
abandoned cups of beer. A ghoul in the living room
turns the music up and the house becomes a drum.
The windows buzz. “Who do you love? Who do you love?”
the singer sings. Our feathered arms, our stockinged legs.
The intricate paws, the filleting tongue.
We love what we are; we love what we’ve become.
— Michael Collier
Michael Collier, “All Souls” from The Ledge. Copyright © 2000 by Michael Collier.
Houghton Mifflin Company. All rights reserved.