Gracie Allen for President!

Nicholas Alexander Hayes and Terri Griffith

The Comedian's 1940 Surprise Party brought America much needed unwise wisdom and foggy acuity.

In The Queer Art of Failure, Judith (J. Jack) Halberstam posits that failure is a type of freedom and therefore a mode of success. Gracie Allen in many ways anticipates the modes of "success" that Halberstam applies to comic cartoon characters like Dory from Finding Nemo. Indeed comedienne Gracie Allen cut a similar figure in the first half of the 20th century. Her linguistic and social failures allowed her, for a time, to complicate and combat the expectations of the 1940 presidential campaign.

Allen's career spanned nearly 40 years, moving from vaudeville, to film, then radio, and ultimately television. Although she's probably best known to modern audiences for her work on the television program The George Burns and Gracie Allen Show (1950-1958) (Also called Burns and Allen, Allen and her partner George Burns became radio regulars in the '30s with frequent guest appearances and two eponymous radio shows. Allen was the funny man to Burns' straight man. Their relationship and marriage provided the keystone of the situation in the situation comedy across media. One might expect to see traditional patriarchal gestures in these shows, but Allen circumvents Burns' authority through overly literal understandings of language. Allen's performative resistance to societal expectations liberates her.

Allen's true genius, however, lay in her public performative failures. One of her most notable failures happened in 1940 when Allen ran for the office of the US President as the candidate for the political party of her own creation, The Surprise Party. The origins of the campaign are unclear. One story says that the campaign emerged from a writer's conference for the radio show. Another more playful story has Allen confess to Burns that she wants to run for president as she knits at home. What had begun as an idea for a bit ballooned into a multi-episode story arc, multiple crossovers to other radio programs, a book, a campaign tour, and a national convention. Mrs. Roosevelt even invited Allen to the National Woman's Press Club as the guest of honor (Carroll 7, 11).

Throughout the campaign, Allen uses her femininity to challenge and wedge herself into male politics. In her 1940 book How to Become President, she gives her sassy explanation that Franklin D. Roosevelt should happily give his seat in office to a woman since he had already held it for eight years. Some of her platforms pushed gender concerns to the surface. One campaign plank states that “A chicken in every pot is good, unless you are the chicken.” However, Allen goes on to suggest that a better goal would have been “a girl for every knee”.

With these slogans we see how women are reduced to consumable goods. This rhetorical move suggests that political promises hide something predatory, even when seemingly benevolent. Yet feminine vulnerability can be used as a tool to mitigate male power since this is one of many instances where Allen sexualizes herself to assert her political acumen.

Along these lines, Allen's stump speech included the line, "Everyone knows a woman is better than a man when it comes to introducing Bills into the House." She plays with gender stereotypes equating masculine political deftness with feminine fiscal apathy. It's a gesture she reinforces with the frequent punchline that the Americans should be proud of the the national deficit because it is the largest in the world.

Ultimately, these moves reveal that Allen's national public performance of failure was "queer" in the sense that it was a conscious conflation of gender expectations. By permitting herself the linguistic ambiguity that she lampoons in others, Allen opens a space in which she seems to acknowledge the constricted political power of women while asserting the ultimate impotence of masculine power structures. Combining both what Halberstam calls “naturalize[d] female stupidity” (55), alongside the audaciousness of a female candidate, Allen exists in this seemingly contradictory mode.

The critical contradictions of Allen's campaign are expressed in the Surprise Party slogan, "It's in the bag", which carries dual interpretations. “In the bag” being a slang expression that means both “a sure thing” and also “drunk”. Indeed, it's this recurring conflation, this queering of meaning, where Allen most succeeds at failure.

In the 28 February 1940 episode of Burns and Allen, "Government Jobs", Gracie Allen first challenges our sense of what can lead to power and the crucial structures that manifest the full implications of its execution. In her silliness there's an underlying ideal that power is naked. She assumes the authority of the presidency without ever assuming the office by offering her friends cabinet positions.

Burns, frustrated that Allen's political ambitions are impeding the radio show, contacts the sponsor, the A. S. Hinds Company. Burns intends on absolving himself of what he considers a debacle. Burns' frustration at the silliness backfires. The company's president supports Allen's candidacy because he has been offered the position of Secretary of State.

The 29 May 1940 episode of the radio program "Sweeping Into Office" demonstrates how linguistic and logical failure can lead to political gain. The program broadcasts from San Francisco, Gracie's hometown. Allen understands that power is a game that does not demand culpability. The trick of power is that it absolves those who possess it. A small way in which her humor illustrates this is when she campaigns in her hometown. She receives a call from her sister that she has left the brake of her car off and that it is careening down the street:

Burns: What happened?

Allen: I left my car parked at the top of Lombard Street Hill, and I forgot to put the breaks on. It’s the funniest thing. The car is running down the hill.

Burns: What’s funny about that? Somebody might get killed!

Allen: Oh, that’s impossible. There’s nobody in the car.

Burns: What about the pedestrians?

Allen: The car is moving so fast they won’t have time to get in!

She laughs as Burns frets that someone might be hurt. In her view no one could be hurt because no one is driving. The driver is the key to the situation. Everyone else is of no consequence. This scenario echoes her frequent punch line that she "would rather be President than right. .Ultimately, power is its own justification.

Allen’s silliness and dizziness complicate the implications of her campaign. Halberstam's description of Dory from Finding Nemo could easily be applied to Gracie Allen. They write, "By some standards she might be read as stupid or unknowing, foolish or silly, but ultimately her silliness leads her to new and different forms of relation and action" (54). Allen's stupidity and dizziness create a novel form of relation at the end of the episode "Sweeping into Office". The conclusion of the episode reveals Allen's learning process, which is described as being clever but backwards.

The main narrative of this episode involves Burns trying to court the politically influential J. J. Clifford for the Surprise Party while Allen entertains people from her past. Allen's encounters are zany and lighthearted. Always she asks about Stinky, the boy with buckteeth who chewed “I love you” into her desk. But no one is sure what has happened to this boy.

This episode also features the culmination of a series of interrelated bits about beards. The dumb humor and illogical nature of these bits can make them difficult to understand. Yet the line of flight does reveal Allen's unwise wisdom and foggy acuity.

The bits begin with the Surprise Party decision to have all the male delegates grow beards before the convention. These bits transition into a series of puns such as “Keep America fuzz”. The title of the episode is a beard pun itself since “Sweeping Into Office” refers to the way the beards of Allen's supporters resemble brooms. The nadir of these jokes occurs at the Omaha Convention at which Allen and her compatriots play a game called Beaver. Allen describes the game to Burns like this:

Burns: Gracie, aren’t you thrilled? Everyone here in costume. Thousands of men wearing beards.

Allen: Oh yes, it’s a hair-raising experience. But I’m always hollerin’ “Beaver!” Oh, there’s one! “Beaver!”

Burns: Beaver? What’s that?

Allen: It’s a game everybody plays. If you see a man with a beard and holler “Beaver!” it’s five points. And if you see a man with a moustache, it’s onlI three points.

Burns: Well, what would you get for a face like mine?

Allen: A mask.

Next Page

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.