By Rebecca Krefting
In this exam of stand-up comedy, Rebecca Krefting establishes a brand new style of comedic construction, "charged humor," and charts its pathways from creation to intake. a few jokes are tears within the cloth of our beliefs―they problem myths approximately how reasonable and democratic our society is and the behaviors and practices we enact to take care of these fictions. Jokes loaded with vitriol and introduced with verve, charged humor compels audiences to motion, artfully summoning political critique.
Since the institutionalization of stand-up comedy as a special cultural shape, stand-up comics have leveraged charged humor to bare social, political, and fiscal stratifications. All Joking Aside deals a heritage of charged comedy from the mid-twentieth century to the early aughts, highlighting dozens of proficient comics from Dick Gregory and Robin Tyler to Micia Mosely and Hari Kondabolu.
The acclaim for charged humor has waxed and waned during the last sixty years. certainly, the historical past of charged humor is a story of intrigue and subversion that includes dive bars, public remonstrations, fickle audiences, motion picture stars became politicians, air carriers, emergent applied sciences, neoliberal mind-sets, and a cavalcade of comedian misfits with an ax to grind. alongside the best way, Krefting explores the fault strains within the sleek financial system of humor, why males are seemed to be funnier than girls, the confusing approval for modern day minstrelsy, and how identities are packaged and bought within the marketplace.
Appealing to somebody drawn to the politics of humor and producing implications for the learn of any type of renowned leisure, this historical past displays on why we make the alternatives we do and the collective strength of our consumptive practices. Readers can be thrilled by means of the wide array of comedian expertise spotlighted during this e-book, and for these drawn to comedy with substance, it is going to supply an alternate punchline.
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Additional resources for All joking aside : American humor and its discontents
Think we’d know who she was? ”29 His opinions offstage clearly express male superiority and he corroborates these sexist views in comic material on stage and in the television shows in which he has a hand. Any analysis of his comedy as subversive, antisexist, or feminist would be shortsighted and ignore the evidence available. It is important to examine the comic material circulating and the intentions and values of the jokester in question. Doing so can reveal that while sometimes comics make jokes that at face-value are racist or sexist or homophobic, these are not necessarily world-views they believe or to which they adhere.
We all place ourselves within these imagined communities as well as maintain an ongoing imagined construction of other communities to which we do not belong. How we imagine these communities can be damaging and wholly inaccurate, as when a White couple I know, upon arriving in New Orleans and seeing Black folks going about their business on a weekday afternoon in the streets of the French Quarter, immediately turned the car around and drove home. Their imagining of Black people as dangerous and violent was so powerful it deterred them from a vacation planned for months, so strong that they w ere willing to lose their deposit on the hotel.
5 This chapter explores membership—legal and cultural—as it is conceived by scholars in the field of citizenship studies and unpacks the meaning and deployment of cultural citizenship. I argue that cultural citizenship is a defining feature of charged humor that distinguishes charged humor from other types of humor such as satire, which for important reasons should not be conflated with charged humor, though charged humor can employ satire as comic device. Furthermore, I discuss the characteristics of charged humor such as varying audience reception to it, comic intentionality, subversive content, orientation toward solutions, and its availability in mainstream popular culture.
All joking aside : American humor and its discontents by Rebecca Krefting