What Is “Offensive” in Comedy? A Complex, Messy Question

Of course the question comes up, among comedians, audience members, entertainment industry executives, journalists and whoever else- what makes something too offensive in comedy? What constitutes going too far and breaking through the wall from comedy to hate or incitement or just causing gratuitous harm with words? The answer is nuanced and complex and requires some elaboration.

First of all, what is meant by “too offensive”? If one is talking legally, such a transgression is rare. The First Amendment is broad and allows for most speech, no matter how seemingly distasteful or controversial. Comedians can run into legal trouble for slander- defaming a real person- but such is very rare, even among cases of a comedian getting castigated for offensive content in a bit.

While the law is rarely the issue when a comedian crosses lines of public outrage and offense taken, what's a lot more common is consequences regarding the comedian's financial bottom line. In many cases, comedy clubs, TV shows, movie productions and other companies with which the comedian is involved are contractually free to drop the person in question from paid work. And the public can turn on the comedian, exerting a social or even economic force, which can secondarily cause those other financial dominoes to fall. Scathing columns and blogs may be written. Accusations of prejudice and hate may be thrown around. The experience can be very unpleasant for the comedian and for those who feel that they were on the receiving end of the comedian's destructive words.

And then there is just the issue of what is “right,” as judged by those with a firm grasp on such philosophical matters, or the comedians themselves. Many comedians- perhaps most- do have a sense of decency, of ethics and morals, regarding the effects of their word when on stage. Often times, in the pursuit of laughs or transcendence beyond the conventional way of approaching an issue, an otherwise respected and non-malicious comedian can say things which cross a line with regards to sex and gender issues, race, ethnicity, religion or other sensitive subjects. The joke may be taken as injurious or hateful. One of the big immediate questions is context.

Context Is Sometimes Everything

What is considered normal in a “clean” environment- a corporate show, a church, a PG-13 comedy club, a family restaurant- is very different from what is considered normal in a dark, late night comedy club. In the standard full time comedy club, comedians are given a tremendous amount of latitude regarding their acts. Even more so if the act is very successful or famous. Explicit sexual references and pointed mentions to race and other demographic divisions are considered acceptable and are even lauded- as long as the material is met with laughs or at least focused silence. When a comedian starts getting groans and boos, looks of disgust on patrons' faces and complaints grumbled allowed, that is when the comedy act ceases being effective, or taken as “comedy” in the desired sense.

Often times, in the societal debates about a comedian's allegedly “offensive” bit, those commenting are so removed from the context, the parameters of comedic language, it's as if they were scouring the words of pirates or kindergardeners or cyborgs, yet applying the standards of acceptability of common every day middle America. Comedians are often celebrated in our culture because they defy the everyday, acceptable discourse, in order to shock us into hearing a fresh new perspective, or make fun of existing prejudices, or even just to get cheap laughs. The question for me is, are the comedian's words specifically and purposefully hateful? If you removed the comedy context, could the bit in question be considered a vile insult or fighting words? Comedy that just dishes out personally held bigotry is, to me, not effective comedy. And arguably not comedy at all.

Sometimes a comedian may be able to explain and justify their potentially offensive words and show how their intention is not to cause psychological harm, or even physical harm, were listeners to go out and act on an emotion riled up by the joke. Thus becomes a fine line. I believe that if a comedian can be shown that a comedy bit of their can quickly lead to real hatred and negative effects in the world- no matter how uproariously funny it may be to crowds- he or she should consider the mission of an artist and entertainer, which all comedians are, and weigh out the destructive force their joke could be spreading as opposed to the potential benefits.

Does any comedian need a joke so bad, that causes repercussions of bad feeling in the minds of some listeners? Might it be better just to remove that bit for the sake of the overall act and not causing easily avoided contention? I would generally argue in favor of removing the gratuitously offensive bit and offering an explanation if not an apology, unless the bit addresses a deeply held conviction that makes a valid political or other point and strives to right a perceived wrong in the world, and not just to victimize a demographic of people that may already feel persecuted.

Whatever the exact line that you or I or anyone else may agree upon, one one hand I believe that standup comedy should not be purposefully, specifically hateful. I believe that ethnic jokes, for instance, can be funny and make for good comedy if the jokes A.) poke fun at stereotypes in such a way as to lessen the burden of hatred and accusation, not increase it, and B.) are evenly, fairly spread around to various groups, the way that expert 'insult comedians' do. When in the context of a known insult comedian's act- say a Lisa Lampanelli or Don Rickles- or a Comedy Central Roast, almost no one takes a word spoken in a serious, emotionally impacted way. These settings are a sort of safe de-sensitiziation chamber into which crowds immerse themselves to hear the nastiest stereotypes and ethnic slurs delivered in a more superficial, entertainment value manner, so that there's a wink and a caricaturing going on, a meta-comedy rather than something taken as dead serious and hateful.

Comedy In Different Settings & Situations

When custom writing funny personalized speeches for my clients, I always ask upfront for the general tone or sensibility of their audience. With corporate or business audiences, I assume it will lean toward the cleaner and more tame, with sexual, ethnic and other hit-button topics off the table, but you never know for sure. There are some workplaces that want to get loose and wild and trust that the level of tolerance (or appreciation) for such is pretty much unanimous. And I have had clients for birthday or wedding speeches who wanted to the jokes to be very soft and extremely safe, lacking in any edge. The bottom line for me, is respecting and accommodating their needs and desires, a standard to which I think professional comedians would also be wise to adhere.

I ask my clients to rate the sensibility of their audience on a scale from 1 to 10, with 1 being Disney cartoon, squeaky clean, Mormon Tabernacle Choir, and 10 being HBO comedy special, Comedy Central Roast, Andrew Dice Clay. I have had wedding roasts and birthday speeches where the client was afraid of jokes poking fun at the honoree (which is what roasts are about) regarding relatively run-of-the-mill, down-the-middle topics, and on the other extreme I've had some very ribald and irreverent clients (often in New Jersey, for some reason) who want me to go as harsh as anything you'd hear in a basement New York comedy club at 1am or in a conversation between ex-Navy SEAL truck drivers sharing a bottle of vodka round a campfire. Whatever the appropriate context, I strive to make their audiences feel joyous and at ease and I aim to make it laugh out loud hilarious, with whatever tools I'm given to work with.

Comedy is fundamentally linked to freedom of language, and some transgression, at whatever level, is almost inherently required to make a joke. As I sometimes tell clients who want to play it extremely safe with every reference and detail of every joke (thankfully, these clients are very rare), you have to break some eggs to make an omelet. That's the nature of a joke. Technically, there is a “victim.” But that doesn't mean it's offensive or hurtful. The recipient of the joke could be laughing the hardest.

What I'm able to do, when the need occasionally arises, is pull back the subject matter and the severity of the punchline so that even the most sensitive honoree can easily laugh along with everyone else, no matter any perceived sensitivities. In these cases, the joke is not “cutting to the bone” and hitting on some core issue about which there may be great embarrassment.

Much more often, though, the clients, the honorees and the audience enjoy jokes which carry a slight sting and bring some impact with the punch. After all, there is no greater tribute or display of bonding than to playfully include someone in a very funny joke.

Styles of Comedy – Honest Opinion vs Ironic Character

Standup comedians often discuss and sometimes argue about what constitutes an effective joke or bit, or even an effective act. While comedy may seem to some like an arbitrary art or craft, dictated only by “Whatever's funny is funny”, in fact some very firm and logical rules apply, which will yield predictable results more often than not.

In the case many of the detailed decisions within a comedy bit, perfect prediction of success is nearly impossible, and thus live experimentation with an audience is the bread and butter of a comedian's act. Is “New Jersey” or “Madagascar” a funnier ending to a specific joke, as measured by audience reaction? Does a French accent in one passage make a bit more or less effective? Is a hard swear word necessary within a certain punchline to get a satisfactory level of laughter? These are all options that need to be test driven in the field, so to speak, on a standup stage with some sort of crowd, ideally in a low-stakes situation, meaning a lack of industry gatekeepers.

I often talk of the “chemistry” of different elements within a comedian's bit and the unknowable 'X factor' of what word, what voice modulation, what gesture, volume, attitude and so forth will yield great results or not for a specific comedian in a given moment. Certainly at the beginning of the joke-crafting process, most comedians put the greatest emphasis on the words. There are exceptions- impressionists, prop or musical comedians, extremely physical comedians, who may emphasize vocal characterizations, melodies or sight gags early on in the process- but if one had to generalize, the construction of the words is where most comedians begin the joke-writing process.

While the tiniest specifics, often boiling down to matters of an almost ethereal subtlety, must be put to the test of live human interaction by A.) performing them out loud in a committed manner, and B.) observing them bounce off an objective and receptive audience, there are some very basic overview decisions that a comedian can safely make at the outset. One of the most primal divisions between comedians acts, I believe, is that between what I will call the Honest Opinion Talkers and the Ironic Extreme Characters. So, let me explain....

Back in the very early days of standup comedy, from the twenties and thirties onward, comedians told jokes, very short jokes, and the art of comedy was meant to entertain in a very light and superficial way. The jokes were clever and surface-level, had a fairly generic quality and not only could be used by more than one comedian, they often were. Henny Youngman said “Take my wife, please.” Milton Berle quipped “We grew together. I grew up. She grew sideways.” Bob Hope mused “I've been playing golf so long that my handicap is in Roman numerals.”

Sometimes these early comedians worked facts of their lives into their acts, but mainly the jokes were close to interchangeable with others sharing their general persona, rather than the kind of unique, biography-based material that's so commonly today. The persona of these joke tellers onstage was the polished professional entertainer, period. They were not pushing a figure of ex-auto mechanic, former school teacher or one of ten children brought up in a house with eccentric parents. With these comedians what you got was basically what you saw- a suit-clad entertainer keeping things moving along with zingers. Whimsical philosophical explorations; naked, vulnerable honesty, and powerfully controversial points of view were not what this comedy was about. If truths were embedded in the material, it was fleeting and submerged, in favor of light-hearted punchlines.

A classic character act tells “lies” because they have a tragicomic blind spot and don't know what's really going on. Their jokes are tightly crafted and the punchlines come quick and hard-hitting. Great character acts have a very strong quirky voice and style on stage, so that everything they say, even the most basic top-of-set introduction and the driest setups get laughs because of what's being related by their appearance, gestures, facial features and vocal qualities. When Larry The Cable Guy says “My brother got eliminated from the spelling bee. Apparently, there ain't no number eight in the word 'pollinate',” we know that this never happened. His brother never thought there was an '8' in the word 'pollinate', and we doubt his brother even did a spelling bee. Maybe he doesn't even have a brother! Larry's character is extreme and it's also the way he says it. It's funny because it isn't true. He's playing a character with very strong eccentricities- a classic self-deprecating, oblivious fool with a sheen of bravado. It's classic character we see different variations of again and again.

Rodney Dangerfield informs us: “Last week I told my psychiatrist, 'I keep thinking about suicide.' He told me from now on I have to pay in advance.” The audience instantly knows this interaction did not happen between Dangerfield and a psychiatrist. But the line is very funny in its elegant economy, and it relates the spirit of Rodney's self-lacerating identity. Strong character acts have exaggerated voices and mannerisms, which help reinforce the perspective that the “character” is coming from. In other words, the flamboyant oddness of the comedian's persona reinforces their ignorance of the real world. It also makes all of their words entertaining even before they've said anything funny on paper.

On the opposite side of this comedic divide we have the plain conversationalists, or those sharing honest opinions. They are also sometimes called “monologists,” a very different usage than as relates to the generic term “monologue,” which just means one person speaking.

The honest opinion comedians can share stories from their life, or create a bit based on their attitude toward a general phenomenon, or even tell short observational jokes, but the common denominator is that the material is not based on fictional left-turns that the audience knows could never have happened The comedic bits are based upon some type of interpretation of real phenomena, often using the constructs of “what if,” analogies or rich description in order to get laughs. Honest opinion comedians must utilize deeper analytical abilities and generally work high up in their intelligence to work very high up in the craft. The audience “trusts” that the honest conversationalist comedian is essentially telling the truth and standing behind what he or she is saying. They are not just ironic zingers as said through a wacky character version of themselves. Honest opinion comedians can stretch and enhance things sometimes in terms of their actual opinions, and even embellish seemingly nonfictional stories, but the point is that the audience believes it could be true, and it feels as if there are philosophical, social or even scientific truths being told, which are very funny at the same time.

Popular comedian Patton Oswalt has a classic bit, many years old, about how the menu at Black Angus is so full of decadent, highly caloric items that it seems like a hostile “dare” or challenge to the customer. He describes a fictionalized menu item with a comically endless litany of fattening ingredients. It doesn't matter that the item and its ingredients are fictionalized to attain the comedic effect. What matters is that Oswalt really does think that Black Angus' menu is full of over-the-top, unhealthy items, and seemingly much of America would agree. We all understand that he's giving us exaggeration. But what's important is that the basic premise is very real and honest and that the exaggerated execution only highlights a concrete truth.

Bill Burr, whose act is based on a lot of daring social and lightly political commentary, is master of taking seemingly controversial, unpopular (especially among the audience he's playing to), politically incorrect stances on issues, and then defending said stances to the crowd like a criminal lawyer. Burr wins over the audience with his very strongly crafted cases that seem to be fighting an uphill battle, making his astute- and hilarious- points all the more impressive.

On one especially killer bit, Burr questions the seemingly prevailing wisdom among many women- which was proclaimed on Oprah's show- that being a mother is the most difficult job in the world. Burr launches into a tirade about how twisted and rigged that conclusion must be, how much easier many full time mothers actually have it than they'd like us to believe, and then talks about jobs which really are the most difficult. He relates the topic to one of his own jobs earlier in life, stating: “I thought roofing in the middle of July as a redhead was.” Burr then continues, elaborating with comedic specificity all of the luxurious and comfortable amenities full time mothers enjoy on the job. Whether you mostly agree or disagree with his claim, Burr's bit stands on the honest truth of his convictions and even if the specific examples can be argued, the truth of the assertion to him cannot be and that's what makes it very effective.

Lastly, in my own act I have a bit about wondering what my great achievements will be at the end of my life. I say that if one is famous, one's greatest achievements- in the form of a professional label- go right on the gravestone, underneath your name. I then list what will be under my name on my gravestone, “Comedian... Substitute Teacher.... Tech Support Specialist.... Door to Door Census Worker (seasonally).....” And it keeps going. The idea is that rather than the simple, elegant statement of “Sir Laurence Olivier – Actor” or “George Washington – President”, my gravestone will be diluted by the many unspectacular jobs I've had. As with the previous examples, the bit's strength is in the elaboration and writing of specific references with a building exaggeration, as opposed to the clipped, hyper-economical jokes/punchlines of the ironic character act. And the premise is an attitude, opinion or thought that the comedian really has.

Either type of act- ironic character or honest opinion conversationalist- can make for a very strong and successful performer, but understanding the division between the two is important, as is adhering to one or the other style consistently. While some comedians blur the line and do both kinds of jokes, a large scale study of standup comedians will show almost all immensely famous and high impacting performers come out of the population of comedians staying strictly on one side of the line.

You might be wondering-- if you're not concerned with being a stage performing standup comedian, but are just delivering the occasional roast speech for a private or business events, how do these two schools of standup impact relate to the roast jokes you will be telling. That's a good question. Roast jokes can actually cross over the line between honest opinion and ironic make-believe, although they tend toward the former. The roast form has its own specific situational needs which transcend the rules of a regular standup act, which is persona-based over the long haul, while a roast is much more material-based covering what is usually a concentrated burst of jokes lasting 10 minutes or less. Whichever comedic activity you may be up to in the near (or far) future, you can always consider hiring a professional comedy writer to help get you on your feet and getting laughs right away! A good example of such is Funny Biz Speech Writers- mention the word “Flapjack” to get 10% off on your first order and a complimentary insult.  

How To Instantly Improve A Wedding

Almost everybody loves a good wedding. There's the buffets, the music, the socializing, the open bar. But far too many weddings are not nearly as fun and compelling as they could be. With all the time, money and energy that people spend to throw a wedding, it's an unfortunate lost opportunity. If you ask attendees where the wedding took a turn for the worse, where the level of enjoyment dropped, it's very often during all of the speeches. The overly long, overly serious speeches. The speeches that are dreadfully serious and melancholy. The speeches that attempt to be humorous but fall very far from being that. If the speech givers could only deliver a speech that is really funny- quite often taking the form of a roast of the groom and/or bride- then the audience could have an in incredible time and all would be saved!

A very funny roast speech or general funny speech wins over a wedding crowd instantly. It is specifically about the person (or persons of honor) and is usually delivered by the Best Man, Maid of Honor or even the parents or officiant. The audience feels an inside connection to the material being mentioned. And the punchlines catch everyone off guard and allow everyone to loosen up, get comfortable and just have some old fashioned fun. Humor is the antidote to boredom, anxiety and social awkwardness. A funny personalized wedding speech which includes all sorts of details of the honoree's life- their strengths, weaknesses, their likes and dislikes, their biographical elements and notable anecdotes from their life, makes for one the most purely joyous and unforgettable 7 – 10 mins that a bunch of people at a wedding could ever experience.

If you want your wedding- or the wedding of any friends or family members- to be as good as it can be, to be joyous, light and full of positive energy from beginning to end, think about having the Best Man, Maid of Honor, or parents or whoever else, deliver an hilarious personalized roast speech of the groom, bride, or both. If you are unable to write such a funny wedding speech yourself then hire a professional comedy speech writer who will take the specific inside information from you about the honoree(s) and craft a guaranteed hilarious speech so that your wedding audience can experience the greatest gift of all. No, I don't mean the refrigerator magnet or hand crafted soap in the little bags everyone gets to take home- I mean the gift of uproarious, no holds barred laughter. And to get the experience you'll never forget contact Funny Biz Speech Writers at inquiry@thefunnybiz.biz.