The Actor and Clown Culture
August 12, 2013 |
The Actor and Clown Culture
When thespians become caricatures of a popular culture that accelerates the demise of civilization, the routine loses all comic relief. The dramaturge of classic theater, relegated to the standing room galley or the cheap seats, creates a void in context and meaning. Today the promenade of audience interaction merges with the performance of a surreal life play. Looking into the rabbit hole applauds an adventure in the wonderland of narcissism by adopting the cult of celebrity.
Chris Renzo writes in Waking Times, How Celebrity Culture is Destroying Who We Are.
“We live in a world that celebrates image over substance and because of this we have lost sight of who we are. We are bombarded daily with images that celebrate vanity, debauchery, and acts of senselessness. Through the corporate mass media we are subliminally told what to think, how to interpret the way society operates, what is “right,” what is “cool,” and how to keep from looking old and unhip.”
It is said that the only thing funny about Henny Young jokes is his violin. Such quips like “My grandmother is over eighty and still doesn’t need glasses. Drinks right out of the bottle.” – seems downright dim-witted. However, the passé humor of your grandparent’s generation is benign and harmless when weigh against the licentiousness of the actual lifestyles of the celeb sect. By comparison, George Carlin appears tame. The political innuendo in his humor, “Inside every cynical person, there is a disappointed idealist.” approaches the wisdom of the Greek proverb, “Either dance well or quit the ballroom.”
The entertainment industry does not qualify as being a cynic since their value culture never came near to being noble-minded. When they perform on stage their boogie moves and trip the light fantastic toe of their kinky art, Fred Astaire turns in his grave. Their lack of class to exit the theater and perform on the streets, set afire from the relativism of their decadent imagery, causes the pop culture to sink further into the sewer of Hollywood excess.
Gone are the days of Milton Berle, Jackie Gleason and Jack Benny. Ethnic humor, now banned from the airwaves, replaced with hip-hop, and rap music, prompts the next class in the School of the Arts to do the hood boogie-woogie. Clowns like the tame Red Skelton or the risqué Benny Hill were mild showmen judged against the likes of the Showtime staple of vulgarism. Bob Newhart’s wit replaced with Kathy Griffin’s filth is analogous about the state of mind in today’s society.
The folksy humor of Will Rogers, rides into the sunset as the “Cowboy Way”, replaced by the broke back way of life roundup, spread across the plains. Where is the humor in the eviction from the “Little House on the Prairie”?
“Weber, a self-described “wise-ass” (he got that half-right anyway), posted a painfully unfunny political rant there entitled ” Comedy Relief.” As near as I can decipher it, the piece asserts that conservatives are a big joke, what with their insistence on sabotaging this country and demonizing the genius President Obama despite all the good he has accomplished.Weber clearly amuses himself, but when it comes to savagely funny and incisive political commentary, the man is no Mark Steyn. Here’s an example of his wit and insight into current events: “Bin Laden’s been gone, Qaddafi’s ka-dead, and the Arab Spring’s been sprung.” Weber actually cites these as examples of Obama’s “real foreign policy victories.”
Weber is right about his vague statement that Obama has the American people “aroused and assembling.” Yes, millions of Americans are aroused and assembling – not in support of Obama, but in opposition to his dismantling of our Constitutional rights, our military, our economy, our borders, our very exceptionalism.”
While Weber is an insignificant celebrity, his essay in the Huffington Times reinforces the gonzo ignorance of glorified groupies exhorting their devotion to political correctness. The history of Hollywood disdain towards Free Speech is legendary, when practiced by traditional conservative Christians. The political affiliation of the Screen Actors Guild members is well known.
“There are well-known conservative actors—including Gary Sinise, Tom Selleck, Patricia Heaton, James Woods, Robert Davi, James Belushi, Dennis Miller, and Sylvester Stallone—but according to Morris, their numbers are far fewer than those in the left-wing camp and, more important, they simply don’t have the clout. “If you think even for one instance Stallone can get the same press as Clooney, you’re nuts,” he said. “Clooney is a media darling. If he says something he’s taken seriously. If Stallone says something, it’s ‘Look what the asshole said.’ “
Well, “That’s Entertainment” in the world of star power mania.
From Big Hollywood, the Breitbart team argues back in March 2013, Andrew Was Right: CPAC Hollywood Panel Confirms Culture’s Impact On Politics.
“Andrew’s message that culture is upstream from politics could be heard loud and clear Friday during a panel of Hollywood heavy hitters who implored to directly engage the entertainment industry.
John Sullivan, director of 2016: Obama’s America, told the crowd the biggest deficit conservatives face today isn’t at the ballot box. The “cultural deficit” remains staggering, Sullivan said, estimating about $4 billion is being spent “working against conservative values” when one considers the total money spent on movies and television product.
“Republicans will come into an election year, and they’ll match the Democrats in political campaign contributions and pat themselves on the back on doing a good job,” Sullivan said, ignoring the culture imbalance.”
Now the clowns that control the organization apparatus in both criminal political parties really despise Will Rogers the moralist.
Tom Ashbrook from On Point writes,
“Before Jon Stewart and Stephen Colbert and Mort Sahl and Lewis Black, Americans fell in love with a cowboy comedian who told it like it was, plain and simple.
Will Rogers was famous for his lariat and rope tricks, his aw-shucks way, his common touch. Everything he knew he read in the newspapers, he said.
But in his day, Will Rogers, homespun comic, was a much bigger draw than Oprah, and a political powerhouse. His humor moved the nation.”
“He was the most incisive political commentator of his era who, beneath his humor, provided his countrymen a critically honest appraisal of American politics and world affairs. Few men touched the American moral and political conscience more deeply than Rogers. His astute observations, his ability to go straight to the heart of the matter and then put that into words that resonated with his listeners, propelled him to a level of influence unequaled in American history. When the witty one-liners are stripped away from Rogers’s message, a sobering and powerful view of his political clout appears. A closer look at whom he met, where he traveled, and the subjects of his writings and speeches reveals not so much a comedian but a true political insider with the power to shape public opinion and ultimately influence public policy.”
The intense cultural imbalance that Mr. Sullivan asserts did not exist back in the day of Will Rogers. Although the reappearance of the American innocence of nearly a century ago will never return, the character of traditional principles and values remain intact for the remnant of faithful loyalists, who adhere to the spirit of limited government and individual liberty.
Corporatists and authoritarians, of all persuasions and ideologies are essentially anti (small r) republicans. There is no humor coming out of the camps of these culturally deprived “true believers”. The achievement of crowd ignorance is significantly a product of mass media distortion and deception. Entertainment artists are not a privileged class, contrary to their own self-pronouncement.
The stupidity that Will Rogers speaks of, intentionally designed to cast a tragic play for the country, is a national pandemic. Buffoons that use comedic lingo to push a repressive agenda are not funny. Actors who lionize tyrannical outlaws and insert subliminal messages in the recital of their play-acting are wretched role models.
Emphatically, the public needs to have the last laugh. An old fashion boycott is in order. Lost generations that swallow the poison from popular culture icons need a sanity intervention. Stop the support of your own ruin. Artists are naturally insecure. Make sure their fear becomes a permanent proviso every time they betray our heritage. Shut off the tube, turn the volume to zero and regain a healthy perspective on your own well-being.
SARTRE – August 11, 2013
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