Deborah
Drucker December 14, 2001
Laughing at Terrorism
What would wartime life be like without having stand-up comedy? If forced to
watch endless hours of mournful televised depictions of violence against humanity,
dressed in black, with no comic relief, could we tolerate war and all it embraces?
War, a nice neat little word that volumes have been written about, and I suspect
if compiled in one place, would look like a small country. If one contemplates
the images of this nasty little word, war, it is mindful of how such contempt
and hate gives us permission to perpetrate acts towards other human beings,
and no matter how noble the cause, seems to bring out the worst in us. A seemingly
innocuous expression, that is used, illustrates our acceptance of this behavior;
“all is fair in love and war.” War generates horrible acts of mass
destruction towards humankind, producing disease, famine, countless orphans,
severe, as well as minor physical casualties, rape; these events are so horrific,
the average person cannot really comprehend. As a result of these atrocious
wartime activities, severe post-traumatic stress conditions are quite common
among our warriors, which affect their lives forever.
As individuals, as well as collectively, we need to have a mechanism to deal
with the ghastly and gruesome aspects of war. How have we been coping with the
atrocities of war in 20th through 21st century America? In this contemporary,
“enlightened,” open society, at least in part due to the influence
of the comedians that perform stand-up comedy, we have been able to tolerate
war. Ultimately one would have to ask the even broader question of how war would
be affected if there was no cultural reinforcement of any kind within the field
of entertainment, however this would be too ambitious a task to address with
the confines of this work.
“If we can put misfortune in the proper perspective, we can use humor to
show the foolishness of our anxieties, the absurdity of our anger, and we make
the unbearable bearable……..The attitude and mood of comedy is the
decision to disavow the heat and pain of living. We use it because we are too
big to cry but not mature enough to dismiss it. “(Saks 13)
The role of stand-up comedy has much more far-reaching effects on our society
than just sheer entertainment. Stand-up comedy during wartime America has a
major influence in our thinking and therefore in the outcome of war by reducing
the fear factor, controlling the power of the enemy, shaping and maintaining
unity among Americans, transitioning effectively from peacetime to a state of
war (Wertheim 264), and educating the public. While in the throngs of battle,
this type of entertainment provides a sense of normalcy and releases tension.
As a result of the September 11, 2001 terrorist attacks, on New York City and
Washington D.C., the nation was stunned. New Yorkers were left traumatized and
shocked, shaken with fear, and in disbelief of both the magnitude of the attack
and that it actually took place on American soil. For about a week, all regular
television and broadcasting was replaced with non-stop, commercial-free news.
President Bush was declaring war on terror and the “evil-doers.” American
troops, along with those of nations committed to give support, were galvanized
and America was at war.
Stand-up comedy helps maintain the sanity of civilians and the military during
wartime, including this new “War on Terrorism”, while sustaining its
popular support, as illustrated by Sol Saks in the following:
"Humor is used for feelings that are too deep for tears. It can bring to light things that can hurt as well as delight-and once they are brought to light, they never seem to hurt as much.
Very early in my career the dropping of the bomb on Hiroshima gave me three separate shocks. The first was the horror of this new death-dealing invention. The second shock was a few weeks later when I heard, with revulsion, a joke about that same horrendous weapon. My third shock was a few years later when I found myself writing a joke about an atomic bomb." (Saks 21)
When we can laugh at war, we can deal with it by holding it in a lighter place
in our minds, making our view of war and terrorist attacks so much less scary,
which diminishes the fear factor. In my interview with stand-up comedian, John
Baisell, Jr., in October, about a month after the "911" attack that
proceeded the American “War against Terrorism,” he stated, “Everyone
now is very edgy and laughter is really the best medicine, it’s a release
laughing.” My nephew, a New York City policeman, who worked day and night,
digging out bodies at the World Trade site, said basically the same thing, “comedy
is a release.”
I can personally attest that about 10 weeks after "911" my mood was
drastically uplifted after spending two and a half hours laughing, as a member
of the audience of a comedy show at Stand-UpNY, in New York City. Before the
show began, we introduced ourselves to two men seated at our table, who told
us that they were new to New York and were army medics, recently stationed in
Harlem. Why did we need military medics in Harlem? The obvious frightening answer
is to assist civilian in case of another attack, which of course includes the
potential of chemical or biological warfare. Of the many comics we watched that
evening at least three had the audience laughing uncontrollably. While in the
throws of these laughing frenzies, I looked at my friend and these two men,
who were also in the same state. I can’t quite explain the overwhelming
feeling of relief that I experienced, while tears were streaming down all of
our eyes, each looking at another, intuitively knowing we were connected in
laughter and it felt great.
Tension dissipates when we can laugh at circumstances, especially when the military
and the government are “calling all the shots” and gives it us some
sense of power. Sol Saks says “Ridicule is a powerful weapon. When used
insensitively it is often cruel. When used against injustice it can bring the
malefactor to his knees quicker than physical force.” (Saks 20) In visualizing
the enemy in absurd and demeaning circumstances that create laughter, especially
hysterical laughter, we believe we have much more control over them, especially
when not too much exists, as in the early days after of the World Trade attack.
Take for instance a Jay Leno joke, a few weeks after "911", when he
says, “The Miss America pageant is the kind of thing that drives the Taliban
nuts: women in bathing suits and high heels, voting” (Seiler. Are We…?
2B.) This particular joke also clearly defines the threat of the American way
of life to the enemy. After all, isn’t that what the fight is all about,
our freedom that we have worked so hard to achieve? Which in turn supports the
next point.
Through comic monologues we can unite in laughter, while creating a staunch
common bond against the enemy and exalting our own leadership. In turn this
reinforces our justification for war, with its continued maiming, death and
destruction, which may play a part in actually prolonging the war effort, and
may also contribute to a winning outcome. To quote Jay Leno, “When times
are good, you make fun of the king. When times are bad, you make fun of the
enemy” (Seiler Are We…? 2B.) Also, in a more recent Leno shows, such
as the one on December 11, 2001, Leno plays the mock game of “Where’s
Bin Laden hiding”, in the most absurd circumstances, painting a picture
of a defeated pathetic character, to the delight of the American viewers. The
message here is that we are winning and Bin Laden, who we thought of as a cunning
feared leader, is now impotent and truly laughable.
These comic messengers have had a significant role in our transition from peacetime
to war in America in the 20th century. As an example of this, the comedian intervened
when the country needed to ration food, conserve metal, and reduce vital resources
during World War II. Strong messages were sent directly from the government;
however they were conveyed so much more effectively by comics in their routines
and skits (Wertheim 267). See Appendix A., Jack Benny, Gracie Allen, and George
Burns routine.
Comedians took a stand to assist the country during the tough depression era
and repeated the process during the hard times of World War II. Most comedians
of that era felt a strong sense of duty towards America, having risen from poverty
and many coming from families of immigrants seeking political and religious
freedom. (Wertheim 282) Because of this, the public got more than just laughs;
it also got an education. In Radio Comedy, Wertheim quotes Will
Rogers as saying ,“Personally, I don’t like the jokes that get the
biggest laughs……I like one where, if you are with a friend, and hear
it, it makes you think, and you nudge your friend and say, ‘he’s right
about that.” (Wertheim 66)
Comedy picks on that which is wrong and has played a vital role in American
wars, at least from World War II to present, and already has played a key part
in dealing with this new War on Terrorism. During World War II, Bob Hope, entertained
the troops, in what some might call stand-up comedy, although the phrase was
coined probably a decade or so later. Ron Roth, comedian, reflecting on Hope,
told me, “He was there to build the morale of soldiers, and support the
government’s position of being proud of ‘you guys’ ." See
Appendix - Interviews. This was encouraged and supported by the government and
obviously helped cement values for the soldiers overseas. Hope was even able
to joke about the attack on Pearl Harbor and our entry into World War II, and
said on a broadcast “There’s nothing to worry about though…California
alone couldn’t beat Japan…After all how could the rising sun hold
out against the drifting fog.” (Wertheim 309)
Today there is a renewed passion for entertainment to support the troops in
the “War on Terrorism”, perhaps intentionally paralleling the World
War II USO effort. Wayne Newton, an unlikely choice, but popular with the masses,
actually has been selected as Bob Hopes’ replacement, leading groups of
entertainers fairly close to the real action of the war. A press release, produced
by the USO on December 11, 2001, lists a cavalcade of stand-up comedians to
entertain the troops, as part of their entourage. What better way is there other
than watching stand-up comedy to relieve the tension after a hard day of blowing-up
the enemy, or searching caves in a strange land, having to avoid undetonated
mine fields, hoping that each subsequent step will be as uneventful as the last.
The USO understands that the entertainer has enormous power by being able to
influence thousands of troops engaged in battle. Therefore, it is interesting
to note that the USO chose a “vanilla entertainer”, a middle-of-the
road American patriot, who would not make waves by contradicting the American
government’s message. Wayne Newton certainly sets the tone for that “good
behavior” and will choose only those performers that fit within the tight
patriotic parameters. They never would send controversial comedians such as
George Carlin, Dennis Miller and certainly not Bill Maher, as they do not want
their comic routines to challenge the war effort in any way. The comedians,
through their material, remind the troops of the American way of life and validate
what they are fighting for. Their purpose is to reinforce the message that the
fight is “just,” we are winning and “apple pie,” with the
military audience laughing throughout.
By listening to ridicule of the enemy, the soldiers feel more power over their
prey, unite and rally around the cause initiated by commonality of the messages
and the group laughter.
Betsy Borns, writes in Comic Lives: (28 – 39)
“stand-up is satire and, regardless of how comforting or confrontational it is for angst-avoiding audiences, it is also planting some serious seeds.” “……. if you want to get a message across and the frontal lobe is locked, you go through the back door. Regardless of how non-provoking it may seem at times, stand-up is by nature an asocial endeavor; the status quo and punch lines mix like Petra Kelly and atom bombs. The premise for every joke is that something is wrong-with you, with the country, with your mother, with something! If nothing is wrong it’s not a joke, it’s making conversation. Ultimately the audience chooses whether to view what they see onstage as thought provoking or thought preventing. But the important point is that it is a thought.”
It’s obvious that the events of "911", have had a tremendous
negative impact on all Americans, but as a New Yorker I can personally attest
to the distress caused by seeing the burning World Trade tower from less than
a mile away, while on my way to work, and then hearing the explosion from the
second plane hitting the other tower. My colleague, who ran to the street, to
see it, came back moments later crying, “the building collapsed.”
We felt vulnerable, doomed and scared to death. The ensuing days seemed surreal
and as the weeks passed some sense of normalcy resumed, but certainly leaving
us with the feeling that we will never be the same.
During this time, the American approach to entertainment took an extreme turn.
Immediately after this attack all entertainment halted, lasting for about a
week, as stunned New Yorkers and the world reeled in shock. Two weeks after
"911", the Mayor’s message was that we needed to continue living,
although, he acknowledged, we were still mourning. His views were influenced
by the severe economic impact and that New York City needed “a shot in
the arm.”
Most New Yorkers would agree that Mayor Giuliani is quite an effective and eloquent
speaker, especially proving himself during this particular period of crisis.
In his position, he has available to him any mode of his choice to address the
public with his message of renewal and “now is the time to start putting
lives back together.” However he did not have a press conference to give
a rousing speech, but instead chose the vehicle of comedy to deliver his message.
One could assume that he chose to communicate with comedy since it can cross
most barriers of age, race, nationality, education levels and politics. This
would enable him to reach as many as possible, avoiding the loss of those who
would be unreachable. Due to the mass appeal of comedy, he was considerably
more effective than by just telling New Yorkers to get on with their lives.
So on Saturday Night Live, September 26th, flanked by 2 dozen or more police
officers, firefighters and rescue workers, Giuliani gave New Yorkers permission
to laugh again (Armstrong.) Lorne Michael, the show’s producer, asked Guiliani,
“Can we be Funny?” to which he replied, “Why start now!”
(Saturday Night Live.)
A month later, in October, on the road to normalcy, Americans, were “fragile”,
as a friend so aptly put it. Fragile what a good word. “Easily broken,
damaged, or destroyed, frail; lacking physical or emotional strength, delicate.”
This now brought up interesting dilemma for comedians. How could they create
and perform material for a fragile audience?
Comedians always performs a delicate dance of sorts with their audience, with
subjects that are controversial, one wrong word, or wrong move, the audience,
who may have been rolling with laughter can become the arch enemy, slaying you
with their silence. (Borns 17)
“Paul Provenza says that the most frustrating thing in the world for a comic, ‘is an audience that won’t open its mind-that won’t give you any creative freedom. This usually happens when they will not hear you. It’s a sheep mentality. I know its happening as soon as I hear an ‘Oh-h-h’ over something slightly over the edge of good taste. I know immediately I’m dealing with sheep. It only takes one person to screw up the audience, to say, ‘Hey guys, we’re getting out of hand here, we can’t let him take us that far over the line’. Then suddenly every one agrees with them.’ The comedian has bombed and what’s worse if offended deeply enough, it can be career suicide."
The envelope has continued to be pushed further, and what was acceptable material
prior to "911", was way off limits after (Borns 18-19).
As an example, Saturday Night Live before "911"; the scene is in aTex-Mex
restaurant Gore and Bush are at a table, sometime after the election and the
recounting of ballots.
Bush is saying, "am I really President, are you sure?" Gore replies
“Yes Al, you sure are, no more lawyers.” "Really “ George
replies “Cool, maybe I’ll start a war. You know it’s like executions
supersized.” Al goes on to say “you know never before has the county
been so divided” George with a quizzical look, pauses and says “ Damn
do I want the chimichangas?”
After "911", with terrorism landing on U.S. shores, where were the
new lines drawn? How can a comic make his point and convince the audience of
his opinion? How can he accomplish his goals without alienating or offending
his audience? Have the rules changed and will our appreciation of the stand-up
comedian become a vestige of our frivolous days, before we were shaken-up? Will
this type of entertainment stand the test of time?
One popular political comedian, Bill Maher, cost his show the Federal Express
sponsorship because he crossed-the what perhaps could be called newly drawn
lines by comments he made on his September 17, 2001 television talk show. On
this night, the first night he aired, after being blacked out like the rest
of TV, due to the recent events, his show took on a serious tone. During the
first few minutes of the telecast, he said….”And I do not relinquish,
nor should any of you, the right to criticize, even as we support our government”.
One cannot say he was attempting to be funny, when towards the end of the broadcast,
as he refuted Bush’s statements, and Maher accused the US military as being
cowards, while stating the suicide pilots were brave. (Politically incorrect)
In his statements, which were somewhat taken out of context, but never the less
grossly insensitive to the moment, he lost FedEx and an uproar ensued. September
17 (Politically Incorrect.)
Now three months after "911", comedians have skillfully woven war
commentary and jokes into their monologues, along with standard material, walking
a fine line to avoid criticizing U.S. leaders and their policy. Mixing the old
with the new, Jay Leno, recently said, “Gary Convit doesn’t look too
bad now,” and also quipped “The anthrax scare in Florida might have
came from an intern. The later was found just to be a rumor started by Hillary
to scare Bill.” (Hoffmann)
Kurt Vonnegut, Jr. wrote the following in his preface of a book about two comedians:
“It is the truth: Comedians and jazz musicians have been more comforting
and enlightening to me than preachers or politicians or philosophers or poets
or painters or novelists of my time. Historians, in the future, in my opinion,
will congratulate us on very little other than our clowning and our jazz.”
(Wertheim preface)
So in asking how could we cope with wartime and terrorist acts without stand-up
comedy and the release it brings, I conclude that we would do not much better
than the Finnish.
In 1993 and 1994, I coordinated two stand–up comedy workshops, given to
students of the acting academy in Helsinki, Finland. The actors and others there
told us that their culture was quite repressed and knew little of the craft
of comedy due to the fact that the Finnish people were taught that laughing,
especially in public was an embarrassment. Even small children were punished
if caught laughing.
How strange it seemed to me that such a basic human emotion could be denied. Some say that Finland’s high rate of suicide is due to the long dark days of winter and overindulgence in alcohol and drugs. However how well can the Finns cope with life without the ability to laugh? What release do they have from negative emotions, and what happens when it becomes repressed? It seems likely to me that overindulgence in alcohol and drugs would be very likely, as would suicide.
In this, the aftermath of one of the most serious conflicts in American history,
"911", the role of stand-up continues to be a vital thread within
the American way of life. Despite its continually evolving look, stand-up will
not only thrive, but take its important place in American history.
Walter Sorell, states in Facets of Comedy,
“‘The endurance of comedy is merely a symptom of our will to survive,
to spite and to overcome death and damnation. Not that man could not live without
comedy, but he cannot exist without laughing. He must summon the clown to help
him with his public exasperations and private despairs, to soothe his anguish
with medication, to make him see the absurdity of tragedies. And the clowning
man will always raise his head to make sure he has the eyes and ears, the mind
and heart of an audience with whom he can go on laughing.” (Wertheim xiii)
There is no doubt that history will show that stand-up comedy, playing such
a significant role in how we deal with life, particularly in contemporary America,
will have affected the outcome of our “War on Terrorism.” Based on
my work I have begun to understand the affect of our comedians and their messages
and although they help us tolerate the brutal aspects of war, they also comfort
and bolster us in our mission. To quote funnyman, Jerry Seinfeld, “We were
all shaken up, but…you want to fight back, repair the damage and keep going….”
(Grossberg)
What would wartime life be like with out having stand-up comedy? How would we
have been able to survive the terrorist attacks and Bush’s declaration
of the “War Against Terror?” From observing the pulse of those around
me in New York City, and my own research, including watching hours of stand-up
performances, in this aftermath of "911", I contend that, not unlike
the Finns, without stand-up comedy we would be exhausted, disheartened and distraught
to the point of suicide.
Appendix
A sampling of a radio routine by Gracie Allen,
Eddie Cantor and Jack Benny:
Cantor
Gracie, haven’t you heard that gasoline is being rationed?
Gracie
Well of course I know gasoline is being rationed! My goodness, what do you take me for, a dunce? I’ve read all about it. All you’re allowed is one cup a day.
Cantor
Gracie, that’s coffee.
Gracie
Eddie, don’t be silly. A car won’t run on coffee.
Benny
No, no, Gracie – I don’t think you understand. You see, cars run on gasoline – so at his point gasoline has to be rationed.
Gracie
But why? There’s plenty of gasoline.
Cantor
I know, but the real reason for cutting down on the amount of gasoline we use is to save rubber.
Gracie
Really that’s very interesting. I had no idea gasoline was made from rubber.
Cantor
It isn’t you see-
Gracie
I had the impression that gasoline came out of wells in the ground.
Cantor
That’s right!
Gracie
And I’ve often thought how convenient it was for the filling stations that those wells were always found under the busiest street corners.
Cantor
Jack, you try it.
Benny
Gracie, look what there really rationing is mileage. The less we drive our cars the more rubber we save. and the rubber we save is vital to essential industries- and to the army.
Gracie
The army? Uses rubber?
Benny
Sure.
Gracie
Gee, wouldn’t you think with all the modern weapons that soldiers wouldn’t have to use slingshots?
Wertheim (279-280)
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Appendix - Interviews
Interview with John Baisell, Jr. Stand-up Comedian at Stand-Up NY, 10/24/01
Deborah: How do you feel about doing comedy now, after "911"?
John:
Well actually there’s a lot more material, but you must
have some sensitivity. Another comic, a few weeks ago, was doing some anti-Guiliani
and anti-Bush jokes and they didn’t go over too well. A good comic
is sensitive to the situation.
I’m noticing that people are more sensitive and recognize how fragile life
is, and it should be cherished.
Deborah: How has your material changed?
John: I want to develop material the gets that point across. But I have noticed that being polite after "911" is beginning to wear off.
Deborah: How is the audience now?
John: Everyone now is very edgy and laughter is really the best medicine, it’s a release laughing.
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Interview with Ron Roth, Stand-Up Comedian (10/25/01)
How
does Bob Hope’s stand-up act WWII differ from current stand-up acts?
Wasn’t really stand-up, he went to all the wars WWII, Korean, Vietnam and
even Dessert Storm.
The humor was poked at those we were fighting, Hitler, Hope’s comedy was
aside from the talent he brought over: women, beautiful girls, pinups to keep
the GIS knowing what they were fighting for . The comedy wasn’t as important
as keeping connected to America. He was really like an MC, not really a stand-up
like today. He had other comics that did other material, he brought in a whole
show like Dagmar, Jerry Colonna, Hope was the main guy. He did do stand-up with
material that was very patriotic, with that thread running through it. He’d
talk about my wife my kids my boss, a funny thing happened flying over here.
Government
propaganda?
He was there to build the morale of soldiers, support government’s position
being proud of “you guys”.
Would Bob Hope’s act work today for US troops? That stuff will always; late night ridiculing Bin Laden,Taliban, etc. Comedian’s find the serious stuff and make it look ridiculous. They find scary stuff and take away the fear, ie Hitler, Mussolini; keep it light; comedians would go to keep the GI’s spruced up.
What
was his function in front of troops?
To keep soldiers happy and laughing. Laughing makes people feel better; gives
a rest from reality of world, and for that time you are not depressed. “Keeps
you connected to others, laugh and the world laughs with you.”
Bob Hope was a well-established movie star by WWII. It was probably a new concept,
don’t believe that they did that during WW1. Maybe in France such as song
“how do keep down in farm after seen Paree?” Maybe government wanted
them to remember what they were fighting for? Otherwise could be there and sucked
into the culture, maybe they wanted to keep them focused.
What
do you feel stand-up’s role is today?
Most comedians today know that there could be a great road to riches. There
is more certainly, than years ago; the venue for comedians to get work in sitcoms
and films.
Role? To make them laugh. Some comedians do silly stuff. George Carlin wants
to inform,
Dennis Miller has a message, others want to make you laugh. Importance of humor,
yes to be funny and also can deliver a powerful message, such as the style of
Lenny Bruce, he wanted to tell you something.
If
you were doing comedy what approach would you take now?
Look at the military poke fun without being anti-American. Don’t think
any comedian would be anti-American, but would be able to ridicule America.
What’s funny is awareness of situation, what’s general in the news,
what’s visible people can relate to, such as the attorney general does
this and that.
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