By Alison Dagnes (auth.)
This booklet examines why there are so few conservative political satirists at the present time and explores the implications of this imbalance.
Read or Download A Conservative Walks Into a Bar: The Politics of Political Humor PDF
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Extra resources for A Conservative Walks Into a Bar: The Politics of Political Humor
While true, I would argue that despite the appearance of political material in Larry the Cable Guy’s shtick, he is not what we can call a “political comedian” because of Holbert’s (albeit slightly flawed) typology. Most of Larry the Cable Guy’s audience do not see his shows expecting political material, and his political material is more often implicit within his routine. Holbert’s categories are important because, if one takes an expansive or all-encompassing view of satire in pop culture, then suddenly all popular culture becomes political when it deals with matters of power.
This ruling gives satirists wide berth in which to express their opinions, adding to their freedom. Additionally, in Campbell v. S. 569 (1994)], the court ruled that song parody was considered “fair use” and was not a copyright infringement, which left the door wide open for The Capitol Steps political cabaret show, and for the song parodies that other political satirists employ. Put together, this means that political comedians can use their talents to freely mock the political establishment thanks to the practical and legal protections that can defend the satirist from being taken too seriously or from being retaliated against by angry audiences, the courts, or politicians who feel wronged.
If you relied on News of the World, The Sun, and The New York Post for your information, I can assure you that you wouldn’t have a clue what was going on either . . The only TV I watch is the Fox News Channel. So not only do I not know what is going on around me, I know nothing about the theory of evolution, global warming, or President Obama’s birthplace (Borowitz 2011). Using the opposite of what you believe to make an argument is difficult and exhausting. Colbert former executive producer Allison Silverman said writing for Colbert was like “driving in reverse on a freeway,” which is a tricky task indeed (Silverman 2010).