How desiring 'a seat at the table' has shifted comedic (re)presentation... And other random thoughts

(RECORDED SEPTEMBER 9, 2019)  Obviously an extension of our last episode, Jesse and jamilah continue to look into the notion of the more recent wave of so-called 'edgy' (or even 'edgelord') comedy, and why it's being viewed as edgy...  When it's ultimately a reflection of already socially acceptable mores.  The majority of successful comedians are heterosexual, cisgender and/or white, and comedy is going to primarily reflect these cross-sections of experiences.  There HAVE been comedians who hold privilege (be it physical, gender, ethnic or otherwise) and were able to successfully do comedy regarding marginalized groups...  While the marginalized groups were NOT at the expense of the joke.  This is possible to do, because it lends to pointing out societal absurdities or injustices. 

Is 'edgy' comedy now a means of gaining a 'seat at the table'- especially if it is done by someone who historically (and in the present tense) has been marginalized?  Is it a way to 'prove' you have now been accepted by dominant society?  Is it a more nuanced, more socially accepted form of 'oppression olympics', while blaming others for doing the same?  ('I as a Black man, am still out here getting shot in the streets; and you want ME to recognize TRANS women being murdered??!!  You want me to acknowledge you as nonbinary??!!  Stop it with this gay agenda!!!')

We also discuss a little more on 'cancel culture'; on Missy Elliot and Mary J. Blige (fortunately) not being appropriated; on Rapsody, women in hip hop and misogynoir; as well as the Jackson/DeBarge dynamic. 

Thanks for listening!

Okayplayer piece on Rapsody: https://www.okayplayer.com/music/rapsody-eve-real-hip-hop-review.html

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