Tag: jokes

The Philosophy of Comedy: Louis C.K.

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Despite his controversies, Louis CK is a talented comedian and we can separate the art from the artist, and take a closer look at why people find Louis CK funny. We will deconstruct Louis CK’s technique and understand what about his comedy resonates with some people so deeply.

Louis CK’s long career in comedy allowed him to develop the fundamental techniques of comedy. Like a boxer mastering the basic techniques, he has excellent delivery, timing, and rhythm. He has in his comedy toolbox all the tools of controlling his volume, using gestures, faces, and impressions. His casual method of conversational delivery is intentional and creates an intimacy with the audience to be vulgar. He is very conscious of how the audience would react to his performances and his words and expressions are fastidiously chosen.

Arguably, where he excels is his ability to write and tell a story, and he uses the tools he has accumulated throughout his career to highlight his storytelling. His storytelling ability is authentic to the point of absurdity. He is honest about everything in life: his dark thoughts, his experiences, his shame and embarrassment. The fact that he would share these self-deprecating authenticity make his persona on stage almost surreal. It is shocking yet familiar; it is intriguing because it is so weird. It is like a painting by surrealist Salvador Dali; it defies typical convention and finds beauty in the unexpected and uncanny.

The ethos, the distinguishing character of Louis CK is like that of a sad clown. In his TV series, Louie, we see the embodiment of Louis’ stage persona in everyday life. We see the tragedies of life, the social faux pas, and the way he sees the world as a hopeless balding fat man just trying to survive. In a world that is so difficult, we like and find the sad clown charming. His vulnerability and shame is the pound of flesh  he pays to the audience so that he can explore such difficult topics.

We’ve covered briefly the form of Louis’ comedy, let’s expand on his content. He discusses topics that frustrate, depress, and intrigue him: race, sex, politics, observation of human behavior, awkwardness, self-deprecation, or the mundane in his own life. Sometimes they are just banal topics he finds amusing that he dresses up in his vulgar style.

He presents a distinct philosophical worldview that subvert social norms and expectations, while at the same time acknowledging the cultural context and shared knowledge or experience. This is the key to what makes his material relatable. In order to subvert social norms, you have to have a mastery of it and know exactly where the edges are. This mastery is like a mirror of society, presenting what is appropriate, accepted, and odd. It tests the limits masterfully, or according to Jerry Seinfeld, Louis CK tap dances around laser beams.

Some jokes are just jokes, but other jokes cut to the core of the human experience. There is an educational quality to some jokes; for Louis, the education is a kind of existential lesson in absurdism and humanism. A common theme is a lack of the sacred, the resultant apathy, and the fight to find meaning in the world through relationships, parenting, or positive contributions to the world. This approach creates a subtle critique against pretentiousness,  inauthenticity, and intellectual laziness. It provides a raw, ironic honesty like a classic court Jester.

The question is whether to separate art from the artist. For many, the revelation of an artist’s misconduct can fundamentally alter how their work is perceived and enjoyed. What was once a source of entertainment or inspiration may become tainted. Some argue that continuing to consume and support the work of problematic artists can indirectly endorse or normalize their behavior. This viewpoint suggests that there is a moral imperative to withdraw support from artists who have engaged in harmful actions, even if it means forgoing their artistic contributions.

Those who advocate for separating art from the artist often argue that certain creative works possess inherent value that transcends the personal failings of their creators. They contend that art, once released into the world, takes on a life of its own and can be appreciated independently of its creator’s actions. This perspective suggests that denying oneself the experience of powerful or influential art due to the artist’s misdeeds may be unnecessarily limiting.

Ultimately, the decision to separate art from the artist remains a deeply personal one. While some may find it possible to appreciate art independently of its creator’s personal failings, others may feel that ethical considerations or the inextricable link between an artist and their work make such separation problematic or impossible.

The Philosophy of Comedy: how to tell a funny joke

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Intro

You think of a joke. You muster up the courage to say it. You delivered the punchline—you expect everybody to laugh—instead, there’s silence. It’s a terrifying, gut-wrenching feeling. Let’s see why some jokes fail and what makes something unfunny.

Poor delivery

Delivery is half the battle and a large part of what separates professional comedians from everyone else: you have to commit to your joke. It’s not easy to get over the nerves and tell jokes confidently with the self-conscious gaze of an audience. The illusion of performance is establishing a particular character or persona, and fully committing to that role. Breaking character disrupts the illusion, and this can happen from being hesitant or stumbling over one’s words. There is a flow and rhythm to every performance, and this is crucial to the delivery of a punchline.

The professional comedian’s delivery is one of the skills that are honed, and mainly through repetition and exposure. Often, this is achieved by brute force and spending lots of time on stage to make the contrived environment of being in front of a stage feel natural. The purpose is to overcome the barriers of nervousness and build confidence in telling a joke. Another effect of this is slowly developing a comedic voice, or a persona, or an ethos, or character from which the joke is delivered. This can be deadpan, over-the-top, blue-collar, or any exaggerated way of conveying a joke. This can be a mask to slip into on stage to deliver your jokes.

Remember, the delivery of a joke can be awkward and still work, as long as it’s consistent with the personality of the comedian. This is where authenticity comes in. The audience is well aware if you’re being disingenuous or nervous, like a key that is flat or playing the wrong note. It is the general ethos of the comedian or who they are as a character. It disrupts the entire flow and momentum of the relationship between the comedian and the audience. 

Poor joke structure

With good delivery, good will can get you some polite laughs even if the joke is not that great. But not for truly terrible jokes or hacky material. You’ll get some groans, or the failure may ruin your ethos or trust that you built with the audience.

A joke must build up a certain tension—sometimes called a set-up—and there must be a payoff—the punchline. There are a number of theories about the structure of what exactly makes a joke funny. But jokes aren’t made in isolation.

Jokes are tested in front of audiences. Like a focus group for market research, you want to test your joke in front of as many different audience demographics as possible to ensure that it works. A joke that is universally funny is rare. As such, creating and testing a joke is a long iterative process. Practice makes perfect. Comedians tell the same joke every night, and you might notice similarly that social butterflies recycle the same funny story with slight modifications. They might change a part that doesn’t work, cut out some of the wording, or add in a tag line to make it funnier.

Poor audience

The majority of the time, it’s not the audiences’ fault if a joke fails because it’s poorly structured or badly delivered. But sometimes you have genuinely bad or hostile audiences. 

For everyday scenarios, we have to look for opportunities to fit a joke in. Unlike professional comedians who create a world on a stage, in a comedy club, in front of lights, and a seated audience, our day-to-day world is often not conducive to comedic bits. Jokes can fail because it does not fit the environment.

It’s an important skill to read the room. Comedians can quickly assess which kinds of jokes work for the audience by listening to the receptiveness of the jokes. For example, you probably shouldn’t tell vulgar jokes at a work meeting. You can even tell certain jokes in certain ways to change the mood in the room and win over a crowd. Jokes are powerful.

Conclusion

People spend their entire lives mastering comedy. The feeling of bombing before a crowd, the awkward silence after cracking a joke, or eliciting no or the wrong reaction from someone can be one of the worst feelings in the world. But there’s something noble about it. You took a risk and you failed. You made the attempt. You will get better.

Types of Jokes

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Non-sequitur

It does not follow. Non-sequiturs are one of the most common type of joke. They rely on setting up an expectation and going in another direction. That shock and relief from the misdirection makes the funny.

Blue

Blue or risqué jokes are vulgar, dark, or morbid, and are often associated with non-sequiturs as they are often used for a shock value. Sometimes comedians are described as “blue” but it’s more useful to describe their jokes as blue. Not every single joke from a comedian is blue, although some say the failure to work clean or even one vulgar word or statement taints the entire set (and the comedian is therefore labelled as blue).

Hyperbolic

Hyperbolic jokes or exaggerations are about extremes to ridiculous proportions. It sparks an imagination of an absurd scenario that is funny, creates a caricature of reality, or mocks in a way that highlights some odd feature. The exaggeration is a game that the audience is in on.

Ironic 

Ironic jokes rely on mocking and the audience knowing it. There can be an underlying critique, like satire or parody, or it can be character-based or have some sort of message. It subverts expectation and breaks what is typical of reality.

Wordplay

Wordplay is another common joke form. It relies on colorful metaphors, analogies, or double-entendres. The classic pun, that relies on different meanings of a word, is a common example. Others rely on missing information, broken assumptions, or other linguistic play.

Self-deprecating

Self-deprecating jokes rely on the comic putting themselves down and embracing humiliation. But this builds a rapport with the audience. They are laughing with you because you humbled yourself and put yourself down. There is a connection with the audience built.

Esoteric

Esoteric jokes rely on some privileged knowledge or nuance. Part of the humor is that you are in the know and in the club and understand the joke. It can be pretentious or highbrow, but it can also be in virtue of a loyal fanbase. Fans of a particular comic can know certain things about that comic that others do not, like a good friend, and that itself can be funny.

Surreal

Surreal jokes or self-referential jokes transcend common sense or norms, and it is often absurd and outrageous. They can be difficult to execute because it is difficult to get the audience onboard. They can be meta or self-referential jokes (a “call back), or they can mock and break the traditional joke form and that itself can be funny.

Physical

Physical humor is the most natural form of humor. Children are primitively in tune with this form of humor and it relies on bodily gestures, volume, and facial expressions. It conveys and universal language and communicates a message to everybody. More sophisticated forms have nuanced expressions within contexts as a further form of communication or it can even create imagery through impressions or acting.