On the Nature of the Ridiculous (and the Ridiculous Nature of the Sex Pistols)

Sex Pistols

Photo by Richard Young (1976)

 

"We have passed beyond the absurd: our position is absolutely ridiculous." [1]

 

 

I. 

 

Gavin Butt is a professor at Northumbria University and someone who knows more than most - certainly more than me - about the connections between visual art, popular music, queer culture, and performance [2].

So when he privileges the term ridiculous in his work I'm confident he has very good reasons for doing so. 

 

However, that doesn't mean I can't briefly reflect upon this concept myself in contradistinction to what some regard as the more profound (and serious-sounding) philosophy of absurdism and then say something about the Sex Pistols. 

 

 

II. 

 

The crucial aspect of the ridiculous is that it solicits, incites, or provokes laughter; often of a mocking or cruel nature, but not always. If you're someone like Georges Bataille, then you'll probably find everything ridiculous - one recalls the following short poem:

 

Laugh and laugh 

at the sun 

at the nettles 

at the stones 

at the ducks 

 

at the rain 

at the pee-pee of the pope 

at mummy 

at a coffin full of shit [3]  

 

For Bataille, this laughter is liberating; by viewing the entire universe as ridiculous - including death and the excremental nature of the decomposing corpse - he feels able to escape from what Zarathustra terms the Spirit of Gravity.

 

This may seem synonymous with the sublime philosophical idea of absurdism, but, actually, it's not the same thing at all. Finding existence laughable is very different from finding it meaningless; one is expected - as a creature of reason - to be angst-ridden by the latter idea, not gaily indifferent to the fact or able to smile when standing before the nihilistic void [4].

Being ridiculous makes one in the eyes of those who insist upon moral seriousness at all times an inferior being; shallow and lacking dignity. But I would counter this by saying it makes us Greek in the sense understood by Nietzsche: i.e., superficial - out of profundity! [5].

 

 

III.

 

One might also view punk - in its more playfully anarchic manifestation as given us by Malcolm McLaren - as an attempt not merely to challenge authority, but to escape from enforced seriousness. 

 

The Sex Pistols - and those closely associated with them, such as members of the Bromley Contingent - were ridiculous because they advocated for a Lawrentian revolution:

If you make a revolution, make it for fun,

don't make it in ghastly seriousness,

don't do it in deadly earnest,

do it for fun.

Don't do it because you hate people

do it just to spit in their eye. [6]

Po-faced punks concerned about social justice might recoil from this, but, for me, the idea of tipping over the apple cart simply to see which way the apples will roll, is crucial. McLaren encouraged the youngsters under his spell to be childish and irresponsible - to be everything this society hates - to make themselves ugly and grotesque: in a word, ridiculous [7]. 

 

 

Notes

 

[1] I'm slightly misquoting the American actor, director, and writer Ronald Tavel, who coined the phrase Theatre of the Ridiculous in 1965 initially to describe his own work. Tavel himself ends this sentence with the word 'preposterous'. 

 

[2] I had the pleasure of listening to Butt speak at the Torn Edges symposium held at the London College of Communication on 20 March 2024 - an event exploring the points of contact and crossover between punk, art, design, and history. 

      Although his paper was rather more Pork than punk, that was fine by me and his discussion of Warhol's 1971 play in relation to the Theatre of the Ridiculous - a genre of queer experimental theatre - was fascinating.  

 

[3] The original poem by Bataille, entitled 'Rire' ['Laughter'], can be found in volume 4 of his Oeuvres complètes, (Gallimard, 1971), p. 13. The English translation is from the Preface to Nick Land's The Thirst for Annihilation: Georges Bataille and Virulent Nihilism, (Routledge, 1992), p. xvii.

 

[4] In a sense, I'm following Hobbes here who distinguished between the absurd and the ridiculous, arguing that the former is to do with invalid reasoning, whilst the latter is simply about laughter. For non-philosophers, however, the absurd and the ridiculous are pretty much now regarded as synonymous. 

      As for the sublime - with which the ridiculous is often juxtaposed - it's interesting to note just how quickly one can pass from the former to the latter; one small misstep is all it takes.

 

[5] Nietzsche, The Gay Science, Preface to the second edition (4).

 

[6] D. H. Lawrence, 'A Sane Revolution', The Poems, Vol. I, ed. Christopher Pollnitz (Cambridge University Press, 2013), p. 449. 

 

[7] Not only ugliness, but deformity is considered by some to be essential to the ridiculous; one recalls that Johnny Rotten in part based his hunched over stage persona on that of Richard III and would perform in an exaggerated physically awkward manner.    

My Debt to Jewish-American Humour

Danny Kaye, Jerry Lewis, and Phil Silvers (as Sgt. Bilko)

 

 

I.

 

Humour, said Freud, is a means of obtaining pleasure from life, no matter what. 

 

In other words, laughter is a way of overcoming suffering as well as an antidote to that all-too-human tendency to take ourselves seriously. 

  

That's why the most profound comedy is often rooted in misery and self-mockery (even self-hatred). And that's why the best humour in the world is Jewish in origin ...

 

 

II.

 

I'm certain that the tradition of humour in Judaism can be traced way back, but I'm a late 20th-century boy and so I'm mostly interested in the humour that developed amongst the Jewish community of the United States and shaped the worlds of film and television in the last seventy years, rather than the subtle theological satire expressed in the Talmud, for example.

 

Antisemitic conspiracy theorists often claim that the Jews are overrepresented in the world of banking and maybe that's true, maybe not [1]. But what cannot be denied is that a disproportionately high percentage of American comedians and comic actors have been Jewish [2].

Of course, Jews have significantly influenced and contributed to the development of the modern world in many fields - art, philosophy, science, politics, business, etc. But I'm particularly grateful for their role within the world of entertainment. 

 

For my childhood was made happier by Danny Kaye, Jerry Lewis, and Phil Silvers as Sgt. Bilko. And today, the comic genius of Larry David and Jerry Seinfeld continues to exert a huge influence over my understanding not only of what constitutes funny, but of how I view the world (ironically and with curbed enthusiasm).

 

 

 

Jerry Seinfeld and Larry David

 

  

 

Notes

 

[1] The idea that Jews are good with (and greedy for) money is one of the oldest antisemitic stereotypes. It's undeniable, however, that Jews are well-represented in finance and business. See the article on Jews and Finance on myjewishlearning.com which nicely puts things into historical and cultural context, explaining why this is so. 

 

[2] In 1978, Time magazine claimed that 80 per cent of professional comedians in America were Jewish, even though Jews only made up 3 per cent of the U.S. population at that time. Click here to read the article 'Behaviour: Analyzing Jewish Comics' (2 Oct 1978).    

 

 

On the Laughter of Discarded Objects

Don't Be Deflated (SA/2022)

 From the Revenge of the Objects Series

 

 

It was bad enough when the clouds began to laugh and the trees stopped listening. 

 

But now even objects which have been thrown out as rubbish, or left lying about as litter, seem to be poking fun at us; as if they regard man as worthy only of scorn in his anthropocentric conceit ...

 

Gone are the days when, like madmen, drunk on the thought of our own exceptionalism, we were the ones laughing at all things beneath the sun - nettles, stones, ducks, etc.  

Why the Reformation of Manners is No Laughing Matter

Charles Penrose 

The Laughing Policeman (1922) [1]

 

 "A fool lifteth up his voice with laughter; but a wise man doth scarce smile a little."

(Ecclesiasticus, 21:20)   

 

 

I. 

 

As I made clear in a post published back in June 2014, if there's one thing I hate to see it's people clapping like trained seals hoping for a fish to be thrown their way: click here. 

 

Similarly, if there's one thing I hate to hear, it's the disagreeable sound of people laughing; loudly, publicly, and shamelessly. Unfortunately, this meant my career as a stand-up comedian was extremely short-lived.

 

 

II. 

 

A friend who trained as a psychotherapist, once tried to convince me I was suffering from gelotophobia. But I never quite accepted this explanation rooted in a pathological fear of appearing ridiculous to others. 

 

For it was more that I found the sight and sound of human beings laughing slightly obscene; not so much an audible expression of joy, but an indicator of our own fallen condition as a species. That's probably why the following remark by Nietzsche immediately struck a chord with me: 

 

"I fear that the animals consider man as a being of their own kind which has, in a fatal fashion, lost its sound animal reason - as the mad animal, the laughing animal ... [2]

 

And it's why the following passage from one of Lord Chesterfield's letters to his son, also delights and is worth quoting at length:

 

"Having mentioned laughing, I must particularly warn you against it: and I could heartily wish, that you may often be seen to smile, but never heard to laugh while you live. Frequent and loud laughter is the characteristic of folly and ill-manners; it is the manner in which the mob express their silly joy at silly things; and they call it being merry. In my mind there is nothing so illiberal, and so ill-bred, as audible laughter. True wit, or sense, never yet made anybody laugh; they are above it: they please the mind, and give a cheerfulness to the countenance. But it is low buffoonery, or silly accident, that always excite laughter, and that is what people of sense and breeding should show themselves above. [...] Laughter is easily restrained by a very little reflection; but as it is generally connected with the idea of gaiety, people do not enough attend to absurdity. I am neither of a melancholy nor a cynical disposition, and am as willing and as apt to be pleased as anybody; but I am sure that since I have had the full use of my reason nobody has ever heard me laugh." [3]   

 

Interested as I am in a reformation of manners, it seems to me that emotional restraint is indeed a crucial characteristic of polite behaviour. In other words, etiquette, as a form of discipline and breeding, is no laughing matter and you can't be both gentleman and clown.    

 

 

Notes

 

[1] Charles Penrose (1873-1952) was an English music hall performer and, later, a radio comedian, best known for his comic song 'The Laughing Policeman' (1922), which sold over a million copies and was still popular even when I was child in the 1970s - much to my irritation. Readers unfamiliar with the song - or those who might wish to refamiliarise themselves - can click here.

 

[2] Nietzsche, The Gay Science, III. 224. 

 

[3] Lord Chesterfield, Letters to His Son on the Art of Becoming a Man of the World and a Gentleman, (1774), Letter XXXII, dated March 9 O. S. 1748. Click here to read online as a Project Gutenberg ebook. 

      For an interesting discussion of 'Chesterfield and the Anti-Laughter Tradition', see Virgil B. Heltzel's essay of this title in Modern Philology, Vol. 26, No. 1 (Aug., 1928), pp. 73-90. Click here to access on JSTOR.

      As Heltzel reminds us, many ancient Greek philosophers - including Plato - aligned themselves against excessive displays of emotion and raucous laughter. For the key thing when it comes to decorum is learning how to curb your enthusiasm.    

For a contrasting view to the one expressed here - in which I encourage readers to learn to laugh at everything - see the post dated 9 Feb 2019: click here. 

 

 

For an earlier post on the reformation of manners, click here.

The Laugh of the Medusa

If you only dare to look at the Medusa face-to-face, you'll see she's not homicidal. 

She's beautiful and she's laughing.

The Laugh of the Medusa still echoes with many sympathetic readers concerned to ensure that the feminine is neither marginalised nor trivialised within the space of literature and the world of politics.

And it continues to resonate with those of us interested in a practice of writing that is above all else joyful. In which, as Roland Barthes says, everything is under assault and begins to come apart; in which language is a powerful flow of words that carries us away from old certainties and habits of thought and speech. 

It's nice to remember that you don't have to angry to be militant and that you don't have to be militant to be radical; that revolution is only ever a smile away and does not necessitate the turning of warm flesh into cold stone, or the hardening of hearts.