Where Should "Not So Smart" Comedians Draw The Line?

Hi, I'm Jose Franco, a former political advocate who found a new passion in comedy. In today's woke and politically volatile society, I believe that comedians play a crucial role in pushing boundaries and sparking important conversations. Artistic freedom is essential for comedy to thrive, as it allows us to challenge norms, address controversial topics, and ultimately promote empathy and understanding. By defending the creative liberties of comedians, we ensure that humor remains a powerful tool for social commentary and positive change.

Before I got into activism and comedy, I worked for Merck Pharmaceutical selling drugs to doctors out of the truck of my car. The biggest reason Merck hired me was I was very familiar with Hershey, Pennsylvania where I frequently visited selling gold jewelry wholesale. Merck created a Chocolate laxative called Freedom, yet to be approved by the FDA packaged for Valentine’s day to appeal to new customers and help sell its other drugs with less appealing packaging. To my surprise, the first pharmacy I walked in, everyone in the shop started staring at me. How’s Maria, the counterperson asked, quickly showing me a picture of a woman that looks exactly like my mother. It so happens Maria lived two blocks from the shop and my curiosity got the best of me and off I went. Upon knocking on Maria’s door, I heard a group of people in the background. Maria answered and quickly grabbed my bag with the “Freedom” chocolate and placed it in her Grandmother’s room. You are just in time for lunch, another voice shouted and before I knew it, I was sharing my third pitcher of sangria with these wonderful folks. At 7pm, feeling a little tipsy, I headed off to Brooklyn. An hour later, I realized I left my bag behind.

I returned to Hershey two weeks later for business and stopped by Maria’s to pickup and quickly noticed as I approached the house, what seemed like a porto potty on Maria’s front lawn. The door was wide open and Grandma slumped over with her eyes wide open. Maria noticed my startled expression and proceeded to comfort me. “Don’t worry about that Jose, after our great lunch, I didn’t want to burden you with bad news. Grandma passed away in her sleep that same night. That’s her in her coffin, we’re just waiting for her to finish using the bathroom, for her to be buried.”

That crude aristocratic style of humor is outrageous, and notoriously known in comedy circles: But I'm not just telling it for laughs; I want to use this type of humor to delve into how we navigate capitalism, morality, and the narratives we create to justify our actions.

Akin to a family walking into a talent agent's office where one of its members proceeds to perform the most grotesque and obscene act you can imagine. It's a whirlwind of debauchery and depravity, pushing the boundaries of decency and societal norms. He has a bright orange tan, an iconic mop of hair, and a knack for grabbing headlines. He says to the agent, "I've got a family act that's going to blow your mind."

The agent says, "Okay, what's the act?"

He grins and says, "First, I make a grand entrance down a golden escalator, promising the moon and the stars to everyone watching. Then, my family joins in, each taking turns making outlandish claims and throwing jabs at anyone who disagrees. It's a mix of reality TV drama and political circus, with a touch of 'You're fired!'"

He continues, "We do it all. My daughter poses for awkward photos while my son tweets conspiracy theories. We hold rallies where the crowd chants slogans like it's a rock concert, and I ad-lib like a stand-up comic on a roll. There are handshakes, lawsuits, and plenty of name-calling."

The agent, looking bewildered, asks, "What do you call this act?"

He smirks and says, "The Aristocrats!"

This joke, while shocking, serves as a perfect allegory for how individuals and corporations operate within capitalism. They often present themselves as polished and noble—the “aristocrats”—while their actions behind the scenes can be anything but virtuous.

From a utilitarian perspective, one might argue that the family’s act, as reprehensible as it seems, could be justified if it leads to the greatest happiness for the greatest number. In capitalism, this is akin to corporations justifying unethical practices if the end result is profit and economic growth. The stories they tell themselves revolve around the greater good of market efficiency and job creation, glossing over the exploitation and harm caused.

Taking a Kantian stance, however, we see a different picture. Immanuel Kant would emphasize the importance of duty and moral laws. The family’s performance would be condemned outright, as it violates the categorical imperative to act in ways that respect the humanity in oneself and others. Similarly, in capitalism, actions that exploit workers or deceive consumers are inherently wrong, regardless of the outcomes. Yet, many rationalize their behavior through the lens of duty to shareholders or economic survival, even when it clashes with moral imperatives.

Through the lens of Nietzsche, the family’s outrageous act might be seen as a rejection of societal norms and an expression of the will to power. Nietzsche would admire their audacity to redefine values and assert their own morality. In the capitalist context, this mirrors how entrepreneurs and businesses often break conventions and innovate, challenging the status quo. They tell themselves stories of being visionaries and disruptors, sometimes ignoring the moral cost of their innovations.

Existentialism, particularly as discussed by Jean-Paul Sartre, would focus on the family’s radical freedom and the responsibility that comes with it. They choose their actions and must own the consequences. In capitalism, individuals and corporations exercise their freedom to pursue profit but must also face the existential angst of their choices. The narratives they create help them cope with the inherent anxiety of their freedom and the weight of their decisions.

Finally, from a Marxist perspective, the family's act is a reflection of the base and superstructure of society. Their performance is a product of the capitalist superstructure that values shock and spectacle. The joke itself could be seen as a critique of how capitalism commodifies even the most perverse aspects of human behavior for profit. Individuals within this system often rationalize their actions by aligning their personal success with the supposed health of the capitalist economy.

Much like "The Aristocrats," our lives are a blend of appearances and hidden realities, shaped by the moral and economic frameworks we navigate. By examining these layers, we can better understand where we draw the line and how we rationalize our behavior within the grand performance of life.