Jokes, Jokesters, and Michael Graham

Have a good Michael Graham joke? Post it here.

I just read that Boston area shock jock Michael Graham is under fire for a series of dwarf jokes. As it so happens, I have a dwarf friend and have had an encounter with Graham. If this doesn't make me an expert, nothing does!

Among Graham’s “witty” remarks was the observation that he likes dwarf waitresses “because I can leave my dishes on their heads.” Is this funny? To me it ranks pretty far down the clever scale. It is mean and hurtful? Well, sure it is. So too are all of the short jokes I've experienced my entire adult life as a person who, though not a dwarf, am considerably less tall than the average American male, or “lummox,” as I like to call them. My choice of nouns in the previous sentence is meant to be glib, but also to remind us about a basic fact about humor: There is a butt to every joke. With all apologies to you well-intentioned folks who think that we need to be nicer to each other and should only tell jokes in which no one gets hurt, being nicer is a worthy goal, but your second wish is impossible. Take away the butt and there is no joke, no humor. We might as well face facts; the only politically correct jokes are those in which comics use themselves as the butt, or those that pick on white males. As I understand the PC crowd, it's not wrong to make fun of the hegemonic group as one is speaking truth to power. Yeah, right. You just keep telling yourself that!

This brings me to Graham. He's from the Rush Limbaugh/Ann Coulter/Bill O'Reilly branch of the evolutionary tree. Did he intend his dwarf remarks to be innocent? I doubt it. His shtick is outrage; or more to the point, that's the shock jock genre's shtick. Take away the screaming, the outrage, and the controversy and there is no reason to listen to radio shows such as his. Graham even creates enemies so they can be the butt of his jokes. He is to radio as the National Enquirer is to journalism; that is to say, entertainment, not news or serious political commentary.

I appeared on one of Graham's shows when I was teaching a controversial course on the 1960s. I knew what he wanted to do: make me look like a crazy professor out of touch with mainstream (defined by him as rightwing) values. If you've ever listened to or watched one of those shows, you know the trick: get the guest mad so that he engages in a shouting match with the host, who controls the microphone, the edits, and the ability to continue giving commentary after the guest is cut off. A lathered-up guest can give these folks material for a week. Why people go on these shows and think they can out-do the hosts at their own game is amazing to me; it actually confirms some of the arrogance that's alleged against "elitists," a favored put-down term for anyone with views to the left of Attila. (Apologies to all Huns.) My university, which felt it needed to address some of Graham’s allegations, forced me on the air or I would steered clear of the show. But I decided in advance that I simply would not play Graham's game. I laughed at his attempts at humor--like asking me if I passed out pot before each lecture--treated him with respect, and stayed completely calm. I knew that he hadn’t done any actual research--facts are boring, after all, so I filled in all the non-lurid detail. I even offered to email my syllabus to anyone who wanted it. In short, I made myself into a non-controversial guest; other than a single snarky post-interview comment, I was history as soon as I went off the air. Fine by me! I even got a few emails from Graham fans saying they thought he was out of line. I cherished those, but I also answered them respectfully.

So is Michael Graham a low-life? I don't know the man, but I suspect he probably isn’t. Graham and his ilk outrage those on the left, just as those on the right have spasms when they see Michael Moore or Jon Stewart. In each case, what we're really mad about is American culture. Those folks simply take advantage of what the capitalist market will bear, which makes it pointless to get mad at them. As I said, they're in the entertainment business. We should no more expect revelatory truth from these folks than we should expect a movie to show life as it really is. Don't we tune in to both in part because we seek vicarious thrills rather than the homemade kind? And, really, in a world of Bernie Madoffs, I just can't find within me the anger to think that a Michael Graham is tearing down American society. I try to reserve outrage for real things, not fiction.

Is Michael Graham funny? Not to me and not to my friend, but he has his fans. Should he lampoon dwarves? As my mother would say, pick on someone your own size, but maybe he ran out of professors. But do I want to lead the torch and pitchfork brigade to the radio studio? Nope. I know all of the arguments about how language is linked to power and how dominant groups use it to keep subordinates "in their place." I don't enjoy Graham's dwarf jokes any more than I would a racist joke. But like I said, there's always a butt, or there is no joke. You can get outraged by offensive jokes, but I think a more effective strategy would be to turn the offender into the butt of a counter joke. So fire away. Post your favorite Michael Graham jokes here.


Boubacar Traoré's Contemplative Blues


Mali Denhou

Luafrica (distributed by Harmonia Mundi)

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Malian bluesman Boubacar Traoré knows that some times a good song take a while to unfold. Although many of the tracks on Mali Denhou open with guitar riffs that most players have to work up to, Traoré lets his songs unfurl at a pace that finds the seam between blues and trance. That effect is aided by a voice that’s more sexy than smooth, and the dreamy accents with which he adorns it.

Although Traoré is the headliner, harmonica wizard Vincent Bucher create such a musical pas de deux that the two often seem an African analog to John Cephas and Phil Wiggins. Traoré’s blues are smoother instrumentally and gentler in content, but he and Bucher know that meaty hooks and dazzling riffs are the soul of a great blues song. They open “Dundôbesse M’Bedouinato” with single glass-like guitar notes. Suddenly Traoré rips off a run, Bucher blows outs a melody line, and balafon artist Fassery Diabaté eases the tune into a groove. Finding the groove is pretty much Traoré’s stock and trade. Each time he rips off an impressive run it’s in the service of setting a contemplative mood. Check out his opening lines of “N’Dianamogo” and what happens next. All of this could get a bit tiresome, but Traoré has the good sense to know when to change the pace a bit. “Mondeou” has a chunky dominant line that would be at home in Chicago blues, but the melody of “Minuit” employs a folky rolling strum that feels like something Woody Guthrie might have played. Then there’s “Fama,” an instrumental that’s a mash between classical Spanish and West African guitar stylings.

This is an impressive release from a Malian legend who has been whipping out masterpieces since the 1960s. It’s all the more dazzling when you realize that there are no studio tricks involved. What you’re hearing is the first take. It’s almost frightening to think of what he’d come up with if he spent a lot of time. But then again, there’s no need to polish an already gleaming gem.

Here's an old number from Traoré.