Outing

A while ago there was some buzz in ye olde gay blogosphere about a conservative politician who may have been involved romantically with another man in his past. These rumors are a dime a dozen, but it provoked discussion over the ethics of outing someone.

The consensus (among blog commenters, at least) seems to be that you should not out someone closeted. The big exception to this is if the person in question is actively harming lgbt people through their actions. There are also plenty of people who believe there is no harm in outing someone in the “transparent closet.” That is, people who are “obviously” queer in some way but have not acknowledged it publicly. I disagree with this vemiantly—the closet may not be a dignified thing, but for many people it is viewed as a necessity to maintain their life. “Transparent” or not, that person has their reasons.

As for those who harm people, like anti-gay conservative politicians, I am more open to the concept. In my mind, if I choose to view it as acceptable, it is a negative act that benefits the greater good. The thing is, I am very uncomfortable with this. A bigoted hypocrite may “deserve” to be outed, but there is something unsettling about weaponizing someone’s sexuality. In a way, it is reinforcing that to be openly lgbt is a negative thing that should avoided except when employed as punishment. By punishing people with something that most open minded people would claim is a positive thing (coming out), you are affirming that it is a bad thing to be feared.

On the other hand, some people may deserve it. I really am not sure how I feel about it, except that the only situation in which I am even open to outing someone is if they are a menace to the lgbt community.

"The State" of Alternative Comedy (See what I did there?)

Alternative Comedy is, in its simplest form, an intentional departure from the mainstream sensibilities and styles of comedy. It is known for a more casual demeanor and a general sort of weirdness that permeates it from the core outward. Displaying a grand level of self-awareness, it is meta, with performers at times commenting on their jokes as they are still telling them. Instead of appealing to the lowest common denominator, jokes are crafted to be a unique representation of the comedian’s personality.

The beginning of the Alt. comedy movement is difficult to pinpoint. The term itself was coined in the 80s, but it has been expanded to retroactively include older comedians like Mel Brooks and Steve Martin. Though it has existed for decades, only recently has it grown in popularity, infusing itself in the popular comedy culture.

Arguably the single biggest reason for this expansion is the advent of podcasting. In the last decade, podcasts have proven themselves to be popular forms of entertainment. They emerged as digital radio shows and have blossomed into a many-formed means of self-expression. There are many aspects of podcasting that make it ideal for the dissemination of comedy: most shows are prerecorded, allowing for carefully constructed set-ups and sketches; they are cheap to produce and distribute; they can reach any market with reliable internet; and most importantly, anyone can make one. Podcasts, with their laissez-faire attitude and ease of production, proved the perfect medium for comedians—especially those with lulls in their careers.

Chris Hardwick started his Nerdist podcast by recording himself and his friends having freeform discussions about comedy and their lives. What began as a small way to kill some time constructively grew into one of the major podcast empires of the internet. The Nerdist podcast is consistently one of the most popular podcasts on iTunes and is now the flagship show of a network of dozens of podcasts. The network has been so successful, that in 2012 it became a property of film studio Legendary Entertainment.

Another success story is Marc Maron’s WTF. Shortly after his terrestrial radio show was cancelled, Maron began recording interviews with other comedians. Due to his openness about personal issues and his occasionally confrontational nature, the show found a broad, loyal fan base and is one of the most respected podcasts on the scene.

Comedy Central has also contributed to the rise of Alt. Comedy. In the past few years, they have green lit several shows that cater to the Alternative crowd. Broad City, which has its roots in a web series is produced by Amy Poehler and swims in the kind of weirdness Alt. comedy has become known for. Episodes feature seemingly innocuous events like waiting for a package and spin plots that involve treks across New York and encounters with strange characters. @midnight uses a game show format as an excuse to feature Alternative comics. Through internet-inspired games, contestants get to show their comedic chops.

When a genre of something becomes labeled “alternative,” it is because it offers some sort of other option to the mainstream. The ironic thing is that alternative genres, as is the case with music, grow and develop into popular categories in their own rights. Coldplay is hardly an unknown band, but they are one of the key acts of the alternative music genre. In a similar way, alt. comedy is becoming increasingly what people think of when they hear the term “comedy.”

Arguably, the increased popularity is a good thing. More exposure means more album and ticket sales for previously unknown performers. There is always the risk of “selling out,” but as the corporate forces supporting comedy become increasingly open to alternative acts and sensibilities, is that really that bad of a thing?

If you are looking to get into alt. comedy, the best advice I can offer is to find someone whose voice speaks to you by listening to various podcasts. Pandora is also a great way to sample many comedians in one sitting and Spotify is the simplest way to listen to an entire album.