The Evolution of Mean
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compositions”13 still thrived in 1980, with radio singles featuring mock
candidates answering questions with pop lyrics (in one Carter answers questions
with Billy Joel’s “Don’t Ask Me Why”14) and political sendups in low culture
such as Mad Magazine.
Bakhtin also argues that a feature of folk humor is that its target includes
the speaker; “it is directed at all and everyone.”15 It seeks to poke fun at the
world the celebrants live in, but carnival humor essentially validates the
establishment; the church and state support the world of the festival. Humorists
knew that the business of television is entertainment, and there was no shame in
befriending the candidate. Comedians such as Bob Hope made fun of Reagan
with Reader*s Digest-safe one-liners, saying the only reason people voted for
him is that they were afraid he would “go back to acting.”16 This sort of fond
send-up is more vaudeville than bite, and barely qualifies as satire, if at all. As
Wagg says of 1960s satire, such humor operates within the system; it was “a bit
of institutionalised cheek and the President laughed to confirm that this was
OK.”17 The style is that of a celebrity roast, and one of Hope’s DVD
compilations is tellingly called “Laughing With the Presidents,” and not at.
The lack of sting in 1980 election satire can also be seen in the general lack
of partisanship. Bob Hope made jokes about Carter as he did with Reagan,
saying “I don’t know what people have against Jimmy Carter. He’s done
nothing.”18 Fairness is not an essential part of satire, and Orwell does not give
the Soviets equal time in Animal Farm; but at the time it was expected or
mandated that both sides be presented. Johnny Carson made fun of both Carter
and Reagan, and print humorist Dave Barry was also careful to be bipartisan and
inoffensive. His crit