You are now entering the Jewish Currents archive.
THE JOKE IS ON THE AMERICAN PEOPLE
by Marc Jampole
AT FIRST LISTEN, Donald Trump’s speaking style when he eschews the teleprompter seems chaotically free form, as if he had tossed a few dozen tweets and sound bites into one of his “Make America Great Again” caps and picked a few out, one at a time, not bothering to supply connective material or an overarching direction. But there is a method to Trump’s rhetorical madness — a tried and true method that has been around since at least the British music halls of the 19th century.
It’s called stand-up comedy, a style of public speaking with which voters are familiar from late- night comedy shows and primetime specials, a style that generally makes its live and broadcast audiences feel good because it makes them laugh, even when the comic is discussing something serious or infuriating. Talking like a stand-up comic may be as significant a part of Trump’s appeal to his core as his nativism, racism, misogyny and isolationism.
Most elected officials and candidates use the same speaking style, which after salutations and a short joke follows a basic three-part structure: 1) Tell them what you’re going to say; 2) Say it; 3) Tell them what you just said. Within that overall framework, the typical political speech will go from issue to issue. In each part of the speech, the speaker will employ a rather limited set of rhetorical devices: using more words than are necessary as opposed to speaking directly; referencing a mix of anecdotes and isolated statistics; and hedging bets with such weaselly phrases as “anticipate,” “start to address,” and “return to American traditions.”
The speaker typically builds tension through repetition, especially of the first few words of a sentence, as exemplified by Dr. Martin Luther King’s “I Have a Dream” speech. For example, in a speech warning of the danger of electing about Trump that Hillary Clinton made in June 2016, she repeated, “He said…” to begin a series of five sentences in a row, and later repeated “It’s no small thing…” to begin three sentences in a row. In a typical stump speech, Bernie Sanders would embed the emphatic rendering of the simple phrase, “we are going to” in four or five sentences in a row.
Except for the use of anecdotes and statistics, both often fabricated, Donald Trump rejects this standard stump speech style in favor of stand-up comedy.
WE CAN IDENTIFY several characteristics of stand-up comedy that Trump has repurposed for the political arena. First and foremost is the lack of a recognizable formal structure in his rants. The contemporary comic, for the most part, doesn’t tell traditional jokes, but rambles from topic to topic, free form and without apparent goal, occasionally telling a story or saying something funny or zinging a sacred cow or well-known human foible. You never have the feeling that the contemporary comic is scripted, but rather speaking a spontaneous stream-of-consciousness rap. Yet she or he manages always to tell the same jokes and even sling the same insults at audience members in all routines. Doesn’t that sound like Trump?
For Trump, the jokes are the insults, the zingers, the boasts, the false facts, the inaccurate characterizations, and the unrealistic promises. Instead of starting with the standard “Great to be here,” Trump will often begin in the middle of an anecdote, sometimes even borrowing the “A funny thing happened on my way to the show” joke that begins many classic stand-up comedy routines. For example, the first words of his speech of his victory tour, in North Carolina, were, “So the weather was really bad, really bad, and they said, ‘You know these are great people in North Carolina. They won’t mind.’ No, but they said, ‘they won’t mind, sir, if you canceled and made it another time.’ And I said, what?”
The contemporary comic will take a complex social issue, reduce it to one or two points which will be inflammatory but not necessarily salient, and then melt away our anxiety with simplistic, often aggressive and senseless exhortations. Lewis Black and Chris Rock both take this approach. Doesn’t it also sound like what Trump has done to many issues, for example, reducing the complexities of illegal immigration to building a wall and the fight against terrorism to limiting immigration from Muslim countries?
Stand-up comics frequently find humor in playing on stereotypes or insulting people. Sarah Silverman, Chris Rock, and Ron White all reduce people to stereotypes consisting of one or two traits, and then make funny remarks or tell stories that exemplify those traits. It’s what Trump does to issues and to other politicians — “Crooked Hillary,” “Lying Ted, “Little Marco.” While some comedians, such as Don Rickles, Dom Irrera and Lisa Lampanelli, built their routines entirely around insults, most will throw in at least some name-calling, sometimes of the audience, sometimes of well-known people, sometimes of themselves. Insult humor is also a mainstay of situation comedies like “Big Bang Theory,” “Two Broke Girls,” “Everybody Love Raymond” and “Two and a Half Men,” for example.
In stereotyping people, stand-up comics will often briefly leave their own persona by changing their voice and body movements to imitate another person. A wide range of comics will play several parts in their routines. A few extremely gifted mimics like Jonathan Winters and Robin Williams built their entire routines going from character to character. Seth Meyers, Stephen Colbert, and Bill Maher will break into their respective versions of Trump’s voice for a sentence or two. Similarly, some of Trump’s most notorious moments occur when he is briefly playing another person, such as his imitation of a reporter with a physical disability. Trump imitated others in the North Carolina speech referenced above. No other politician of recent vintage would dare take on the voice and gestures of another person.
THE CONTEMPORARY COMIC is self-referential, either drawing from her or his own life or interrupting a thought process to refer to her or himself — how the performance is going, why something makes the performer angry, the effect of current events on the comic’s personal life, or something else just as extraneous to the topic at hand. Those who believe that Trump is unqualified for office because of his instability often cite his extreme narcissism as a character flaw. Many of his lies stem from an irrational desire to self-aggrandize. His early speeches after the inauguration, to the Central Intelligence Agency and members of the military, started with and returned often to his personal issues with polling and voting results and insults he may or may not have hurled. There are many comics who focus on themselves, from Jack Benny to Rodney Dangerfield on to Elaine Boosler, Wendy Liebman, Amy Schumer, Lewis Black and Jeff Foxworthy, among myriad others.
Other than talk-show hosts who pretty much deliver jokes in the tradition of Bob Hope, most contemporary stand-up comedians play a comic character that is a well-known stereotype. There are red-neck comedians like Ron White, Bill Engvall and Jeff Foxworthy. Wendy Liebman and Sarah Silverman are promiscuous Jewish-American princesses. Chris Tucker is an angry black man. Amy Schumer is always a party girl. George Lopez plays a series of Hispanic stereotypes and D. J. Hughley and Eddy Murphy play a series of African-American stereotypes. Playing a role is a cherished tradition of stand-up comedy: Jack Benny was a miser. Red Skelton was a clown. Lenny Bruce was a hipster. Cheech and Chong were dopesters. Irwin Corey was a gasbag.
Trump plays a stereotype character whose roots go back to the Italian commedia dell’arte in the Renaissance. But every comic type with origins of a thousand years will have many manifestations. The left, Democrats, many centrists, and the mainstream news media see one version of the classic type upon which Trump has modeled, subconsciously or not, his public person. But Trump supporters saw a different version -- comic to be sure, but also heroic.
At essence, Trump is Pantalone — the older, wealthy man, often vain, often a lecher, often a bully, often pompous and ignorant, who usually gets his comeuppance in commedia dell’arte skits, sometimes even wearing the horns of a cuckold. Moliere’s “bourgeois gentleman” is the classic example of this comic type. A friendlier, sunnier and definitely de-sexed precursor to Trump was Ted Baxter of the Mary Tyler Moore show, played by Ted Knight.
Most of the intelligentsia across the political spectrum view Trump as the know-nothing buffoon version of Pantalone, the bourgeois gentleman who thinks he knows more than the dancing, speaking, music, and other experts he has hired to aggrandize his reputation, or perhaps a Ted Baxter as a sexual predator.
To New Yorkers, Trump has long been a puffed-up and vain buffoon — a wealthy fool, someone with a lot of money but no taste. Before running for president, the properties he built were garish. His private life exemplified what used to be called the “nouveau riche,” those who have money but spend it tastelessly and foolishly. His “Apprentice” TV show was a parody version of the business world, his gruff and insulting style a parody of a type of executive who is not all that prevalent nowadays, certainly not among public companies responsible to shareholders.
But the rich and pampered oaf is not what his followers saw in Trump. To Trump voters, he was the Rodney Dangerfield and Jackie Mason characters of the two "Caddyshack" movies of the 1980’s that are still frequently aired on a number of broadcast and cable stations. Both play extremely rich white males who made their money at least partially in real estate development. Their vulgarity, apparent ignorance of social etiquette, and kind treatment of the “hired help,” turn them into average Joes who are breaking down the barriers of elite institutions. Viewers may laugh at Dangerfield and Mason as they commit social faux pas or make ridiculous statements, but we treat them as heroes who upend the social order for the good of the whole when they insult, trick or defeat pompous and snobby rich folk. There is no difference in what the audience feels for these rich disrupters in the Caddyshack movies from what supporters feel about Donald Trump. In the numerous interviews with core Trump supporters since the election, they forgive his vulgarity and stumbling as part and parcel of his outsider status.
HOW MUCH has Trump’s stand-up comic style contributed to his success in connecting with enough former Democratic voters to win an electoral majority? Did delivering his nativist, racist, misogynist messages like a comic serve to enhance his dystopic ejaculations? It certainly made them seem “funny” to those who despise so-called “political correctness,” but did his voters respond to the jokes positively, or would Trump have won by a greater margin if he had delivered his material in the traditional style that characterized every other candidate on the campaign trail this year?
The very fact that Trump’s language and rhetoric so little resembles the standard fare certainly contributes to the view that he is a disrupter. That he distills his messages into short statements — be they insults, lies or simplifications — make them easy to remember, transmit on social media, and use in television news, which now favors quotes of less than ten seconds. His performance might steal a movie satire of elections. On the other hand, the news media treats his rally speeches and early morning tweet rant as manifestations of instability, inexperience and ignorance.
We can’t really know whether his performance helped him win the election unless a progressive Democrat attempts the same approach. I’m certain that any number of Hollywood and New York comedy writers would love to help a candidate of the left try the stand-up style.
Meanwhile, we can anticipate that Trump is going to ramp up campaign style rallies to rile his base as his ratings continue to tumble and he continues to implement unpopular policies and make racist, sexist, and otherwise distasteful statements. Like any stand-up comedian, Trump loves the immediate applause, the laughs and the hoots, the love and attention unmediated by polls, computers, experts or media spins. It’s the love of attention that has Trump now actively seeking deals with the Democrats.
Like any professional comic, Trump’s inventiveness feeds off the audience response. Playing to live audiences will therefore likely incite Trump to make more of the type of embarrassing and ignorant statements that marred his campaign and that he has continued to make in the first year of his administration. In the best-case scenarios, Trump or others walk back the assertions he makes via Twitter, news conferences and large rallies by twisting the meaning, denying he said it or quietly restating long-standing American policy. We have already seen this dynamic play out again and again — with North Korea, Charlottesville, transgender military service, Israeli settlements and the one China policy. The worst-case scenario, as may happen with DACA, has Trump turn a federal department on its head to implement a legally suspect executive order that hurts individuals and the economy, all so that Trump can say he delivers on a promise he makes in his large tent meetings.
In other words, Trump may talk and and act like a stand-up comedian, but the joke is on the American people and the world.
Marc Jampole, a member of our editorial board, is a poet and writer and retired public relations executive. He last appeared in our magazine with “Paul Celan as Existentialist Poet,” and he blogs regularly atjewishcurrents.org.