Latest / Armstrong & Getty One More Thing / Holocaust Humor

Transcript

Holocaust Humor · Armstrong & Getty One More Thing

• 0:00
  Speaker 1: Holocaust humor. It's one more thing. I'm one more thing.
• 0:09
  Speaker 2: Well, I'm pretty uncomfortable where this might be going.
• 0:12
  Speaker 3: Yeah no, oh.
• 0:12
  Speaker 4: Yeah, yeah me too, And I know where it's going. Uh,
• 0:17
  Speaker 4: this is oh should I this almost gives it away.
• 0:22
  Speaker 4: This is a really good companion piece with something we
• 0:26
  Speaker 4: did on the radio show today, Slash Podcast. But I
• 0:31
  Speaker 4: can't say what I realized. I would give it away.
• 0:33
  Speaker 4: I'm just going to go through this.
• 0:36
  Speaker 1: And there's a plot twist this is I'm quoting. Who
• 0:41
  Speaker 1: is this?
• 0:41
  Speaker 4: I like to give credit Susie Weiss, who writes for
• 0:44
  Speaker 4: a handful of people, including.
• 0:47
  Speaker 1: The Free Press. She says, it's my duty.
• 0:50
  Speaker 4: To report that there's a new musical called Slam Frank,
• 0:54
  Speaker 4: a satirical Hamilton style show that imagines Ann Frank of
• 1:00
  Speaker 4: the Diary of Anne Frank Fame. Okay, everybody you familiar
• 1:04
  Speaker 4: the diary Vent Frank, teenage girl hiding with her family
• 1:08
  Speaker 4: from the Nazis in Amsterdam in the attic of a home. Uh.
• 1:13
  Speaker 4: And and they were ratted out, discovered and all died.
• 1:18
  Speaker 1: I think the whole family died.
• 1:19
  Speaker 4: Maybe one person survived, but and Frank, who was was
• 1:23
  Speaker 4: killed by the Nazis.
• 1:25
  Speaker 1: Anyway.
• 1:27
  Speaker 4: So there's a new musical Jewish yes exactly, Yes, Twitter
• 1:34
  Speaker 4: influencers who I won't get into a fight with anyway. Uh,
• 1:38
  Speaker 4: there's a new musical called Slam Frank, a satirical Hamilton
• 1:42
  Speaker 4: style show that imagines Anne Frank as LATINIX, her story transformed,
• 1:48
  Speaker 4: translated and transgendered into something new in it, Frank and
• 1:54
  Speaker 4: her family and the von Dans, the other family the
• 1:58
  Speaker 4: Franks hid in the.
• 1:59
  Speaker 1: Att with during the Holocaust.
• 2:02
  Speaker 4: Quote combat stigma, like their dodging bombs and practice self
• 2:07
  Speaker 4: care to repair from these air raids. Those are quotes
• 2:09
  Speaker 4: from the musical. When they're not singing about how there's
• 2:12
  Speaker 4: more than one way to be an ally, the characters
• 2:15
  Speaker 4: are coming out Peter van Dana's non binary otto, Frank
• 2:19
  Speaker 4: is gay and neurodivergent, and Ann herself is pan sexual
• 2:24
  Speaker 4: and talking about white male privilege.
• 2:26
  Speaker 1: I give I quit. I seriously quit. I like that.
• 2:31
  Speaker 2: I like that as an attitude just in general.
• 2:32
  Speaker 1: I quit.
• 2:37
  Speaker 4: You can't force me to listen to this, all right,
• 2:39
  Speaker 4: there's one more bit build as an intersectional, multi ethnic,
• 2:42
  Speaker 4: gender queer, decolonized, empowering Afro Latin hip hop musical, Slam
• 2:48
  Speaker 4: Frank is meant to explore the idiocies of the woke movement,
• 2:53
  Speaker 4: which is a rare thing to see on stage now,
• 2:57
  Speaker 4: By the way, Susie says, it's wild at point, it's
• 3:00
  Speaker 4: genuinely daring and fun and funny, but it doesn't really work.
• 3:05
  Speaker 4: It's just too awful.
• 3:08
  Speaker 2: So it's kind of like the Well, it's different than
• 3:11
  Speaker 2: the Producers. The Producers was meant to fail for monetary reasons.
• 3:16
  Speaker 1: But so this reminds me of Katie. Just hang on
• 3:21
  Speaker 1: a second.
• 3:21
  Speaker 4: But Jack brought us this idiotic piece in the Atlantic
• 3:26
  Speaker 4: about how the movie Jaws fifty years later was actually
• 3:29
  Speaker 4: a daring exploration of class division and income, income inequality
• 3:35
  Speaker 4: and shit like that and scary Sharko was going to
• 3:38
  Speaker 4: bite your legs off, right, And Noah Rothman of the
• 3:41
  Speaker 4: National Review wrote a hilarious parody of that.
• 3:45
  Speaker 2: But yes, Michael, I was just remembering that I saw
• 3:48
  Speaker 2: Jaws as my dad, he said, as we were watching
• 3:50
  Speaker 2: in the theater, talking about income and quality.
• 3:53
  Speaker 1: Yeah, yeah, he caught it. Yeah, memory, I'm sure.
• 3:58
  Speaker 4: And the key to it was that the Noah Rothman
• 4:01
  Speaker 4: parody of the Atlantic piece was indistinguishable from the Atlantic piece.
• 4:05
  Speaker 1: Sure, these people are so absurd, Katie, Oh this whole thing.
• 4:09
  Speaker 3: I'm I just went to the website for this slam
• 4:13
  Speaker 3: Frank and the poster for the play. Yeah, clearly Ai
• 4:17
  Speaker 3: because for some reason AI doesn't have the hands right yet.
• 4:19
  Speaker 1: But it is.
• 4:20
  Speaker 3: And Frank, she's got the star of David patch like
• 4:24
  Speaker 3: they made the Jews wear during the Holocaust. And she's
• 4:27
  Speaker 3: got headphones on standing at a DJ booth DJing.
• 4:31
  Speaker 1: Oh lord, oh lord.
• 4:36
  Speaker 4: So again this is it's barely exaggerated enough, right to know.
• 4:42
  Speaker 4: I mean, it was probably when I started giggling reading
• 4:45
  Speaker 4: it that some some of you good folks started to
• 4:48
  Speaker 4: suspect that something was up here, because you couldn't tell
• 4:52
  Speaker 4: until I got almost to the end.
• 4:55
  Speaker 2: No, it could have gone either way.
• 4:56
  Speaker 1: Could could have been mocking, it could have been real.
• 4:59
  Speaker 2: You can't tell.
• 5:00
  Speaker 4: So here's here's how the idea for the show began.
• 5:06
  Speaker 4: The guy who wrote it and what is his name?
• 5:08
  Speaker 4: I don't remember, I'll mention her Fox.
• 5:11
  Speaker 1: Oh thank you.
• 5:12
  Speaker 4: He was on Twitter and there was one of those
• 5:17
  Speaker 4: gd Twitter debates. This is in twenty twenty two, over
• 5:21
  Speaker 4: whether Ann Frank ever acknowledged her white privilege for real.
• 5:26
  Speaker 4: It wasn't parody that was for real and so yeah,
• 5:32
  Speaker 4: there's a name. Andrew Fox grabbed the bit and ran
• 5:35
  Speaker 4: with it far. The result is an over the top
• 5:38
  Speaker 4: off Broadway spectacle which spares no sacred cows and raps
• 5:42
  Speaker 4: about being from the barrios of Frankfurt and her dad
• 5:45
  Speaker 4: can't focus when an SS officer is in derogating him
• 5:48
  Speaker 4: because of his attention deficit disorder, et cetera. Extention, and
• 5:57
  Speaker 4: the show is about the incoherence the far left worldview.
• 6:01
  Speaker 4: The actors screamed down with capitalism in the same breath
• 6:05
  Speaker 4: advocate for more black CEOs, yeah, which is a pretty
• 6:09
  Speaker 4: good twist. H And the best lines come during a
• 6:12
  Speaker 4: song towards the end, when the ensemble sings quote, the
• 6:15
  Speaker 4: oppressors have been lurking here among us, and tomorrow we'll
• 6:19
  Speaker 4: see that they're purged in, they're dealt with at last.
• 6:22
  Speaker 4: It's unclear at that point whether they're talking about Nazis
• 6:25
  Speaker 4: or the Jews, who've been recast as oppressors in recent years.
• 6:29
  Speaker 4: Of course, if you're talking about purging, it raises the
• 6:31
  Speaker 4: question could you be doing some oppressing yourself.
• 6:36
  Speaker 1: Anyway?
• 6:38
  Speaker 2: I like Katie's take, I quit that should be a
• 6:41
  Speaker 2: T shirt. Just like the modern world. I quit, and
• 6:43
  Speaker 2: it's not I'm gonna commit to U side.
• 6:45
  Speaker 1: I just quit.
• 6:46
  Speaker 2: I'm going to engage in the modern world anymore.
• 6:48
  Speaker 4: I'm done with this right, Well, what about globalizing the
• 6:53
  Speaker 4: INTI no I quit.
• 6:54
  Speaker 2: I quit quit a long time ago. Not enough black
• 6:59
  Speaker 2: people women Graham.
• 7:02
  Speaker 1: Out, So she says.
• 7:05
  Speaker 4: It's gleeful in its offensiveness, but not to any particular end.
• 7:08
  Speaker 4: There's only one note though. Admittedly it's struck. Admittedly it's
• 7:12
  Speaker 4: struck impressively, But when I left, I wasn't sure what
• 7:15
  Speaker 4: I was supposed to feel besides entertained. I tell you what, David,
• 7:18
  Speaker 4: David Fox, keep tweaking it, keep working on it, like
• 7:23
  Speaker 4: what you're going for here. There needs to be so
• 7:27
  Speaker 4: much more mockery like this and Noah Offman's piece, And
• 7:31
  Speaker 4: Noah's a very serious guy. But the power of mockery
• 7:37
  Speaker 4: and humor in changing minds, in changing or motivating political movements,
• 7:44
  Speaker 4: in knocking down political movements. I've been fascinated by that
• 7:47
  Speaker 4: since I was a kid. It's probably why I do
• 7:50
  Speaker 4: what I do. Great arguments matter, having the guns matters.
• 7:57
  Speaker 4: But if everybody's laughing at somebody you win.
• 8:02
  Speaker 2: The nineteen thousand word article in the Atlantic is what
• 8:05
  Speaker 2: Jaws got wrong. It portrays class divisions in a way
• 8:09
  Speaker 2: that anticipated a fight that has defined American politics since
• 8:12
  Speaker 2: twenty sixteen.
• 8:14
  Speaker 1: Was that what Jaws was about? You people are effing hilarious, right, Well,
• 8:23
  Speaker 1: I was breaking down Caddyshack. We have Ted Knight, who
• 8:26
  Speaker 1: expressed white privilege.
• 8:27
  Speaker 2: And in the scene in Caddyshack when Bill Murray gets
• 8:30
  Speaker 2: struck by lightning in a thunderstorm, early climate change, well, brilliant,
• 8:37
  Speaker 2: I guess that's it.