“Listen to me,” the president of the United States says. “I have a very important message for you. The message is . . .” Biden then falls asleep and after the vice president awakens him, he addresses “the president of China” and thanks the “first lady” Kamala Harris for correcting him.
“We’re going to talk about the crisis in Africa,” says President Joe Biden, a correction from “Spain,” for what was supposed to be “Russia.”
That took place on “Studio 22,” on the government-owned MBC conglomerate in, yes, Saudi Arabia, a country not known for a long tradition of comedy. The Saudi skit packs an important message for the world: Joe Biden is a joke, and the best evidence is Joe his own self.
Witness the Delaware Democrat’s endless stream of gaffes, pratfalls, gibberish and outright delusion. For example, Joe Biden recently claimed that during the Six Day War, he served as liaison between Israel and Egypt. Trouble is, in 1967 Biden was still in law school. True to form, in his first medical check-up after installation in the White House, Biden skipped the Montreal Cognitive Assessment.
As that test would doubtless show, Joe’s elevator doesn’t quite reach the top floor. The Saudis get that but the USA has declared a “war on jokes,” particularly jokes about Joe Biden, Kamala Harris, and the rest of the ruling Junta. Far too many comedians are hiding in the bunker, a departure from America’s long comedic tradition.
Saturday Night Live once produced masterful satire such as “Dukakis After Dark,” with Dana Carvey as President Jimmy Carter describing himself as “one pissed off cracker.” Consider also their send-up of the Clarence Thomas hearings, with Kevin Nealon as Joe Biden, addressing Anita Hill, played by Ellen Cleghorn.
“Professor Hill, I want to thank you for your patience today,” Biden says. “You’ve shown remarkable courage throughout your testimony. It couldn’t have been easy for you, or any of us, to sit here for the last seven hours and talk about penis size, or large-breasted women having sex with animals, or pubic hairs on soft drink cans, or oral sex, or the black man’s sexual prowess, or large-breasted women having sex with animals. But we appreciate your candor.”
Senators Howell Heflin (Chris Farley) and Strom Thurman (Dana Carvey) discuss whether women prefer hardcore or softcore pornography. And as Sen. Ted Kennedy (Phil Hartman) asks, “Have you ever tried coming out of the bathroom nude and acting like you didn’t know someone was there? That works, too.”
Nothing like that on Joe, Kamala et al. No “West Wing-Nut” sketch with Biden telling Harris she “ain’t black,” or maybe calling her a “lying dog-faced pony soldier.” Trouble is, the current SNL crew is like Miss America in Woody Allen’s Bananas.
“I think Mr. Mellish (Allen) is a traitor to this country,” Miss America testifies, “because his views are different from the views of the President and others of his kind. Differences of opinion should be tolerated, but not when they’re too different. Then he becomes a subversive mother.” That was 1971. In 2022, check out the fearful symmetry.
Disagree with the Biden Junta and you become a “domestic terrorist.” The current SNL, and countless comics, keep their distance and betray their craft.
If the late George Carlin had been told to steer clear of the president and vice president of the United States, he would have had more than seven words to say about it. The same would be true of Lennie Bruce and Richard Pryor.
Way back in 1977, during the Carter Era, Pryor’s sketch on the first black president had people on the floor. A comic of that caliber could hard resist targets such as Joe Biden and Kamala Harris. If somebody told Pryor he could not make jokes about, say, Admiral Rachel Levine, Pete Buttigieg or Lia Thomas, Pryor would have slapped the taste out of their mouth, as he told Patrick McGoohan in Silver Streak.
Biden’s charge that African Americans who fail to support him “ain’t black” would surely have drawn a response from Redd Foxx of “Sanford and Son.” Imagine Fred giving the news to Lamont (Demond Wilson), Grady (Whitman Mayo) or Aunt Esther (LaWanda Page). Imagine too what equal-opportunity offender Don Rickles would do with Biden, especially if told Joe was off-limits.
As Conrad Black explains, Joe Biden is a waxworks effigy of a president, and that might be too kind. As he demonstrates every day, Joe Biden is two tacos short of a combo plate. He’s out to wreck the country and maybe the world, but Americans are not supposed to make fun of him. Gutless American comics fall in line as Saudi Arabia, of all places, takes the lead. This needs to change, in a hurry.
In 2022 humor is form of dissent. Laughing at Joe Biden, a pathetic puppet of the far left, is the first duty of professional comics and standard practice for every citizen. “I been on to you from the start,” as Stanley Kowalski (Marlon Brando) might say. “Not once did you pull the wool over this boy’s eyes. I say HA HA! You hear me? HA! HA! HA!”