(Guest Post by Jason Bedrick)
If you’ve never heard of Remy Munasifi (a.k.a. GoRemy), I feel sorry for you for two reasons: first, because you have until now been deprived of his comedic genius, and second, because you will get no work done for the rest of the day as you cycle through hilarious music video after even more hilarious music video.
Remy deserves to win the 2016 Al Copeland Humanitarian Award because, like previous winner “Weird Al” Yankovic, he has improved the human condition “by making us laugh at the the absurdity of many who think highly of themselves,” whether corrupt or vacuous politicians, incompetent or abusive government bureaucrats, clueless celebrities, inane media outlets, smug activists or Petty Little Dictators of all stripes.
If ever there were a year when we needed more of that, it’s 2016.
Remy is a thirty-something, Arab-American comedian who, like Weird Al, satirizes society and culture through parody music videos. His first video to go viral was his 2009 gangsta-rap parody of the lily-white “Whole Foods” culture of the D.C.-suburb, Arlington, Virginia–a video that racked up more than 300,000 views in one day and has now been seen more than 2.3 million times. His series of videos about Arab culture are even more popular–his video “Saudis in Audis” has more than 9.5 million views. However, much of Remy’s work is more explicitly political, although not partisan, particularly the videos he has produced for the libertarian ReasonTV.
For example, Remy’s “Cough Drops-The Mandate” mocks both Republicans and Democrats for the different ways in which they use government to intrude on our lives, and suggests to the viewer that perhaps we can solve many of our problems without getting the government involved.
But politicians and bureaucrats aren’t the only targets of his satire. Remy brutally mocks people who think they are saving the world on Twitter in “I Need a Hashtag!”:
Remy strikes a similar chord in “How to React to Tragedy.” In recent years, but particularly in 2016, we’ve seen a disturbing trend in the wake of tragedies as people rush to exploit them for their own political ends. Remy doesn’t spare either side:
Remy’s videos are striking not only for their clever wordplay and witty pop-culture allusions, but also for offering a taste of the highest form of social criticism. As the great political theorist Michael Walzer described in his seminal work Interpretation and Social Criticism, there are different types of social critics. The type favored in academia idealizes “radical detachment,” the social critic as “dispassionate stranger,” whose freedom from any attachment to the people whom he criticizes allows him the necessary emotional distance to speak painful but necessary truths. This form of criticism can be beneficial, but it can also lead the critic to despise the people whom he is criticizing, and they know it. That reduces the effectiveness of the critic, sometimes reducing the criticism to mere virtue signaling.
Another model is what Walzer calls the “connected critic,” who stands somewhat apart from the community and can therefore see it in ways that the masses often do not, but who is nevertheless “one of us.” As Walzer writes:
Perhaps he has traveled and studied abroad, but his appeal is to local or localized principles; if he has picked up new ideas on his travels, he tries to connect them to the local culture, building on his own intimate knowledge; he is not intellectually detached. Nor is he emotionally detached; he doesn’t wish the natives well, he seeks the success of their common enterprise.
As with blacks and Jews in America, Remy’s status as a native-born American-Arab in the post-9/11 world makes him an insider-outsider, giving him a perspective that is ripe for both comedy and social criticism. He combines them well. His comedy is biting, but not mean-spirited. His videos contain sharp indictments of the American government and society more generally, but you can sense in them a deep love for the ideals of America. He is not a Chomskyite social critic condemning America as irredeemably corrupt and founded upon the wrong values, but rather a connected critic, in the spirit of Martin Luther King, Jr., calling on America to live up to its highest ideals.
Take, for example, “Why They Fought,” in which Remy contrasts the spirit of liberty for which American soldiers have fought and died against today’s domestic surveillance, airport security theater, pervasive and complex taxes, and mountains of micromanaging regulations (which are recurring themes, as the previous links attest).
As an Arab-American, he’s also an insider-outsider in relation to Arab society and culture. His satirical takes on Arab culture–from a hip-hop paean to hummus to an ode to grape leaves set to the tune of a Nirvana classic–are humorous and even loving. However, he satirizes institutions like arranged marriage, laws against women driving, niqabs, morality police, etc.–topics that many comedians fear to touch lest they be labeled a racist or Islamophobe. Coming from someone else, these critiques may have been seen as mean-spirited and fallen on deaf ears, but Remy has a following among people with Arab heritage. He even toured with other Arab-American comedians in the “Axis of Evil” tour as his alter ego, Habib Adbul Habib, who is “Baghdad’s worst comedian.”
Whether satirizing Arab or American culture, this Arab-American’s comedy holds up a mirror that exposes our worst selves but also calls on us to be our best selves. He is the comedian and social critic that America needs and deserves right now. Remy may not need to win The Al, but he certainly deserves it.
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BONUS MATERIAL. Here are a couple of Remy’s education-themed music videos that JayBlog readers will enjoy:
“Straight Outta Homeroom” on the absurdity of “zero tolerance” policies (think Pop Tart guns):
“Students United (Tuition Protest Song)” on clueless college students who can’t understand why the tuition at their fully loaded, theme-park campus is so expensive: