Something is accomplished, and more often than not, someone becomes the target of the narrative. All humorous anecdotes possess a certain level of audacity, disrespect, and rebellion. By mocking an individual or a concept, jokes push the boundaries of conventional language, ideas, and culture. Consequently, every joke holds the potential to upset someone or challenge a certain belief. Let’s begin with some fundamental principles. Jokes are tales or brief narratives, whether fictional or factual, designed to entertain, bring joy, and potentially educate. Jokes encompass a subject and a predicate, often accompanied by a direct object.
Here is the output: “Here is an example of a joke that seems inoffensive and politically correct. Anything can be potentially funny, given the proper context, but there is a slight potential for every utterance. Nothing is funny in the wrong context. According to Galef, every joke risks goring someone’s sacred cow. David Galef, the essayist, correctly points out that a joke is not just bad because it is offensive.”
Two men are knocking back beers in a bar on the ninetieth floor of the Empire State building. “You know, there’s a slipstream around the seventieth floor,” says one, opening a window, “and if you jump out here, it’ll suck you back in at the fiftieth floor.”
“Ah, c’mon,” says the second, more than a little drunk. “No, really” says the first. “I’ll show you.” So he jumps out the window, comes in through a fiftieth-floor window, takes the elevator up, and appears triumphantly back in the bar. “Hey, I’m going to try that,” says the second guy. He jumps out the window, falls ninety floors, and is killed instantly. “Hey,” says the bartender, looking hard at the first man, “you can be a real bastard when you’re drunk, Superman.”3
“Writing or speaking in a humorous manner is comparable to playing with matches; it has the potential to harm the individual who is attempting to bring light to the darkness. It is a simple fact that every utterance has the potential to offend, as proven by the innocuous joke that can be offensive to families and recovering alcoholics who have experienced loss and pain due to alcoholism. Even a seemingly harmless joke can be offensive, as pointed out by Galef. But enough about alcoholism! Let’s talk about Superman. Is Superman a fictional comic book character or a real person? And who can be offended by it? So, this joke has an unusual and surprising punchline, which makes it interesting and logically moves the premise. You have to admit that this is a funny joke!”
The issue here is not normative and one epistemic. I am not saying that they are ethically or morally correct, but rather I am arguing that any joke can be considered funny depending on the audience and the given context. However, I also acknowledge that even in the right context, a joke can be highly offensive, inappropriate, rude, and crude. The issue I am pursuing here is not whether a joke is ethically or morally correct, but rather how objectionable it is.
The circuit must receive and emit a noise for the sound to occur. The cycle of life is like a joke in the physics of sound. Just like the three iron-clad rules of real estate, “Audience, Audience, Audience” is crucial for a successful joke. The viability of a joke only exists if the audience finds it funny in the end. Getting a laugh at a kitchen table or a comedy club is a true demonstration of wit and timing. Whether a joke succeeds or fails depends on how well it is presented, whether it’s delivered by a friend over dinner or a professional on stage. Like a good salesperson, the joker needs to sell their joke effectively as a comedic bit or joke-product. Of course, it all starts with the joke teller.
It is argued by Ted Cohen that all jokes are conditional, meaning that in order for a joke to be successful and for the audience to possibly be amused by it, there must be a shared frame of reference between the teller and the audience. This shared frame of reference includes the teller’s presuppositions, cultural myths, common language, common background, and common knowledge, all of which connect the audience and the teller.
I remember my father saying to me, “I sing Sinatra and scream Elvis:” I am amazed and surprised by each popular singer and song, considering them danceable, enjoyable, and listenable. The reason why most children and parents are separated is because the music speaks to a very specific demographic slice of the pie, and it is very audience-specific. Music that speaks to a specific demographic slice of the pie is considered commercial or popular. Comedy and comics work in a similar way, as they are niche or generational, specific to a particular community, and subjective. This explains why telling jokes has a conditional nature. Jokes work because they can respond and react to different experiences and backgrounds of society. The joker understands and recognizes an audience’s background, cultural references, knowledge, and assumptions, using them to tell a story.
Let’s unpack the principle of what it means for jokes that are derogatory, despicable, perverse, crude, or graphic in nature (such as scatological jokes, anti-religious jokes, racial jokes, misogynistic jokes, or sexual jokes) to be considered acceptable fodder for comedy in other words, depending on the audience’s receptivity and tastes. Funny can be subjective.
Women, the LGBTQ+ community, and individuals with physical disabilities. Jokes that belittle and promote violence, mutilation, and death. Jokes that celebrate the infringement, degradation, and defamation of various political, racial, or ethnic groups’ fundamental human rights. Jokes that express delight in necrophilia, cannibalism, and torture. Jokes that go well beyond innocent childhood humor. Jokes that intentionally and happily push the boundaries of sadomasochism. Or jokes that you probably should refrain from telling your mother. I am not referring to jokes that “might” offend Emily Post’s refined standards of aesthetic sensibility and good taste. Let’s be unequivocal about this.
It insists, somewhat reluctantly, that whether you find it funny or not depends on your personal taste, sense of humor, and common ethics. It does not let your convictions blind you to whether a joke is good or bad in terms of its moral implications. It does not mean that the joke is funny to a particular audience and aesthetically flawed. It might be deemed offensive, vulgar, or even unethical by some or many.
I would like to present a couple of relatively harmless, yet still questionable jokes that I believe may be offensive, politically incorrect, and potentially even unethical, to those who are dissatisfied with their experience at a Catholic grammar school and avid followers of MAD Magazine. Nevertheless, these jokes are quite popular.
Q: “What’s black and white and red all over?” A: “A crushed nun!” Q: “What’s that black stuff between an elephants toes?” A: Slow natives.”
The seal at the bar says, “Oh, what can I get you to drink, little bartender fellow?” The Canadian Club isn’t as long as anything else. The baby seal goes into the bar.
Sharing these jokes with the wrong audience is a guaranteed recipe for comedic failure. However, it is difficult to deny that these jokes contain an element of humor, no matter how tasteless and immature they may be. It is a recipe for comedic failure, leading to social banishment and contempt.
The biggest mistake any comic can make is to mindlessly assume that the audience in front of them is the same as their own sense of humor. “You’re going to pay a price for it,” said Garlin. However, when a comedian forgets that there is an audience in front of them, they have the right to tell any kind of jokes, theoretically. Stand-up comedy is like a two-way street.
Legman asserts in his opus magnum, “The Dirty Joke’s Rationale,” that sexual jokes are a popular form of humor because they are an intrinsic part of human nature. He claims that sexuality, with all its diverse and unique expressions, is an elemental aspect of human culture. Throughout centuries and across all cultures, sexual humor has been prevalent in both written and oral traditions.
Engaging in sexual pleasure, jokes of a sexual nature, such as pornography, should not be forgotten. Making sexual jokes serves as a means to compensate for the unavailability of reality. Sexual jokes also serve as a way to express various perversions and illicit sexual desires. We tell sexual jokes as a means to violate taboos and challenge cultural conventions. By telling sexual jokes, we are flaunting authority and transcending societal norms. We use sexual jokes to normalize hidden, forbidden, or otherwise taboo topics. Sexual jokes help us overcome guilt, neurosis, fear, and hesitancy related to sexual matters. He claims that making jokes about sex is a way to satisfy our curiosity about sexual matters.
Carlin George has been asked by different groups of people to use language that is considered dirty, common, and vulgar. While his language is often irreverent, it is not necessarily profane in all of his heavily trafficked sex jokes. Instead, he tends to subdue and guard against explicit and violent, pornographic jokes, opting for a range of jokes that have erotic elements in a more restrained and cautious manner. What is truly remarkable is the way he incorporates sexual imagery and language with such intensity and assertiveness, spanning the entire spectrum of taste and tone.
“Can someone explain to me why certain words are considered dirty? Why is it,” said Carlin, “that of the 400,000 (plus) words in the English language, seven of them (S ___ ___ ___, P__ __ ___ ___, F __ ___ ___, C __ ___ __, C __ __ __ S __ __ __ ___ ___, M ___ ___ ___ __ __ _F__ ___ ___ ___ ___, and T__ __ __) are thought to be too dirty and improper to use on TV and in most newspapers? None of these words,” said Carlin, will “infect your soul, curve your spine and keep the country from winning (a) war.”13
14. Black asserts that the concept of “good dirty language” necessitates the presence of a corresponding “good dirty joke.” He questions whether individuals truly respond with phrases such as ‘Aw, Pshaw’ or ‘Pussy feathers,’ when witnessing a body of water engulf and destroy everything in its wake. According to Black, the usage of profanities like ‘Son of a Bitch’ or ‘Holy Shit’ seems more fitting in such situations. Additionally, Black emphasizes that we employ diverse forms of language to express ourselves in distinct ways. He further acknowledges language as both a tool and a medium for communication. Consequently, Lewis Black, a fellow comedian known for his use of explicit language, wholeheartedly agrees with Carlin’s original comedic premise.
The joke is considered a classic case of the Aristocrats being infamous, using bad language or bomb F-words, with no limit to the raunchiness and range of the language. Conversely, it can be argued that a joke is good if it doesn’t save your ass in the world of ‘fucks’. “When,” says Black, “a joke is not delivering a good joke (joke), you are not being playful and colorful in your delivery system.” The joke is about comedy words, and to develop the quality of some “fuck” and “dick”, you have to get a laugh. Just saying “fuck” or “dick” is not going to make you funny. On stage, the words themselves are not funny, and you have heard them a few times before, but after the first few times, Black warns that you won’t laugh. Output: The classic case of the Aristocrats being infamous is that the joke is used with bad language or bomb F-words, and there is no limit to the raunchiness and range of the language. Conversely, it can be argued that a joke is good if it doesn’t save your ass in the world of ‘fucks’. “When,” says Black, “a joke is not delivering a good joke (joke), you are not being playful and colorful in your delivery system.” The joke is about comedy words, and to develop the quality of some “fuck” and “dick”, you have to get a laugh. Just saying “fuck” or “dick” is not going to make you funny. On stage, the words themselves
The Aristocrats joke is recognized as the benchmark of extreme sexual and grossness in the business, dating back to the days of burlesque and vaudeville. It has become a professional joke, told exclusively by professionals to demonstrate their wit, talent, and unflinching nerve. According to Provenza and Penn Jillete, it is a form of one-upmanship among comics. Although it is rarely performed on stage, the joke continues to be told by both comics as a way to demonstrate their competence. According to Legman and Gershon, The Aristocrats is considered the dirtiest joke in the English language.
The essence of the joke lies in its simplicity. It starts with a familiar setup, where a man enters the office of a renowned talent agent and proudly presents his act as a family performance. The middle part of the joke serves as a blank canvas, allowing each comedian to unleash their wild and twisted imagination, delving into unspeakable obscenities. No topic, language, gesture, or level of repulsiveness is off-limits. The ultimate aim of the joke is to shock and amaze the audience. It is a long-standing tradition for every rendition of the joke to be a gleeful and outrageous portrayal of sexual depravity, ranging from acts involving animals to those involving children. Lastly, the joke concludes with a surprising punchline: “We go by the name of… The Aristocrats!”
The Aristocrats follows this premise: “the dirtiest joke in the world.”18 The New Yorker refers to it not only as the “most obscene joke in the English language,” but also as the “most offensive joke.” Feel free to attempt your own rendition of The Aristocrats. However, let me provide a clean version of the joke, without vulgarity or explicit sexual content. Unfortunately, due to good manners, professional discretion, and the advice of my lawyer, I cannot disclose the complete version of The Aristocrats. Each variation was delightfully indulgent, sexually provocative, brutally honest, yet undeniably hilarious. In the documentary, 100 different comedians gleefully shared their interpretation of the joke with the audience and their fellow comedians.
A man walks into the office of a well-known talent agent and says, “Sir, have I got an act for you.” The agent, having seen it all in his 40 years in the business, looks doubtful, but indicates that the man should go on. “Well, sir,” the man says, “it’s a family act.” The agent roll his eyes, but before he can respond, the man jumps right in. “First,” he says, “I come out on the stage and accompanied by an old-time piano rag, do a bit of soft-shoe dance. My wife joins me, and I take her by the hand. Then I bend her over, lift up her ________ (article of clothing) and tear off her __________(article of clothing). Next, I whip out my _____________ (body part) and start to ____________ (verb) her. As she’s___________ (verb ending in ‘ing’) with pleasure, my son comes onstage and pulls out his little _______ (body part), which my wife starts to ________(verb). After a moment, our daughter enters from the left, kneels down and starts licking the boy’s______ (body part). Overcome with pleasure, he_____________ (verb ending in ‘S’), and some lands on our daughter’s _______ (body part). All the while, the music is playing, becoming more and more dramatic. Then the baby crawls onstage, in her adorable footie pajamas and start to eat the ___________ (bodily waste) right off her sister’s _________ (body part). The baby____________ (verb ending in ‘s’), and my daughter slips in the ensuing puddle. Her face gets caught in the boy’s________, (body part) and my wife, still ___________ (verb ending in ‘ing’) away on his _________, (body part) tries to pull the two of them apart. Off balance, she slips and lands face-first in the steaming pile of ________ (noun). The motion of her popping off my_______(Body part), along with the music rising to a mighty crescendo, causes me to _________(verb) all over them, while they slip and slide in the ________(noun) which by now is now covering the stage. Just at that moment, a container of confetti opens up in the rafter, and my entire family gets up and leaps on top of my shoulders, fanning out like the petals of a flower, with the baby perched on top.” “Finally,” the man says, “when we’re all completely covered in __________ (noun), __________ (bodily fluid) and confetti, we throw our hands in the air: Ta-da!” The agent, stunned, pauses for what seems like an eternity before saying, “Jesus, that’s a hell of an act. What do you call it?” The man, rubbing his fingernails on the lapel of his natty, pinstriped coat, lifts his nose to the air and says, in his most sophisticated voice, “We call ourselves…The Aristocrats!”19
Some people see “The Aristocrats” as a dramatic farce, with individual comics performing and acting out the piece, which creates a sense of excitement and energy. What makes the film hilarious, at least in terms of its content, is the incredibly absurd and tasteless nature of the joke itself. Ironically, the joke may not be funny in the end, simply because it relies heavily on its own absurd and shockingly explicit nature.
Here are two examples to consider: funny and mischievous. Without a doubt, the punchlines and setups of these jokes below are undeniably sexual. However, it is important to note that there is absolutely no explicit description or use of terms like “explicit” or “forbidden” in either of these jokes. If you pay attention, you will not find a single naughty word. In fact, I would like to share my two favorite sex jokes while setting aside the use of bad language and dirty jokes, and focusing on the richness of their humor.
Example #1: Super Sex For his 90th birthday a man’s friends decided to give him a visit from an expensive, high-class call girl. The evening of his birthday, she appeared at his door, and when he opened the door she said, “Happy Birthday! Your friends have sent you a gift! I’m here to bring you super sex. So what will it be?” The man thought for a moment, and then he said, “Sweetie, at my age, I think I’ll have the soup.”
Example #2: Bear Hunting Bob was excited about his new .338 rifle and decided to try bear hunting. He traveled up to Alaska, spotted a small brown bear and shot it. Soon after there was a tap on his shoulder, and he turned around to see a big black bear.
The black bear said, “That was a very bad mistake. That bear is my cousin, I’m going to give you two choices. Either I maul you to death or we have sex.” After considering briefly, Bob decided to accept the latter alternative. So the black bear had his way with Bob.
Even though he felt sore for two weeks, Bob soon recovered and vowed revenge. He headed out on another trip to Alaska where he found the black bear and shot it dead. Right after, there was another tap on his shoulder. This time a huge grizzle bear stood right next to him.
The grizzly said, “That was a big mistake, Bob. That bear was my cousin and you’ve got two choices- either I maul your to death or we have rough sex.” Again, Bob thought it was better to co-operate with the grizzly bear than be mauled to death. So the grizzly had his way with Bob.
Although he survived, it took several months before Bob fully recovered. Now Bob was completely outraged, so he headed back to Alaska and managed to track down the grizzly bear and shot it. He felt sweet revenge, but then moments later, there was a tap on his shoulder, He turned around to find a giant polar bear standing there.
The polar bear looked at him and said, “Admit it, Bob, you don’t come here just for the hunting, do you?”
I want to point out that it is not necessary for humor to be good in an ethnic way. Unfortunately, jokes about race and ethnicity can be demeaning, stereotypical, cruel, brutish, and nasty, depending on the audience and the person telling the joke. However, Thomas Hobbes’ words on ethnic jokes often play on the point that they can be disgusting and dehumanizing.
This is an instance of one that is perfectly in the center: Some of these comparisons are witty, and many are unkind. The Chicago Bears defame the Green Bay Packers, and vice versa, of course. The Democrats disparage the Republicans, the Chinese cackle about the Japanese, the Swedes scorn the Danes, the Belgium’s deride the Dutch, and the English laugh at the French. We revel in the opportunity to chuckle at individuals not similar to us, and others whom we perceive as rather distinct and peculiar in their customs and habits. As a species, we are a competitive group and ethnic humor arises from our inherent inclination to compare and evaluate ourselves against others. It can be argued that.
The Greeks vs. the Italians A Greek and Italian were debating who has the superior culture. The Greek says, “We have the Parthenon.” The Italian says, “We have the Coliseum.” The Greeks says, “We had great mathematicians and philosophers.” The Italian says, “We created a world empire and established Pax Romana.” And so on and so on for hours, until finally the Greek lights up and says…. “We invented sex!” The Italian nods slowly, thinks, and replies, “That is true—but it was Italians who introduced it to women!”
For instance, these types of jokes tend to be more lighthearted rather than being critical or offensive. A majority of them exploit specific well-known and widely acknowledged cultural characteristics and unique quirks of a specific group or ethnicity, employing a great deal of satirical ethnic comedy.
Q: How did the Irish Jig get started? A: Too much Guinness and not enough bathrooms!
Q: What do you call it when an Italian has one arm shorter that the other? A: A Speech impediment!
Q: What goes CLOP, CLOP, CLOP, BANG, BANG, BANG, CLOP, CLOP, CLOP? A: An Amish drive-by shooting.
Q: What do you get when you cross a Unitarian with a Jehovah’s Witness? A: Someone out knocking on doors for no apparent reason.
Outsiders and insiders, both belonging to a certain social status, can make jokes about the traditional morals and manners of their world, while also incorporating language integration and assimilation. This makes the jokes self-referential and self-deprecating, allowing them to overcome the feeling of being strangers in a strange land. According to folklorist James P. Leary, this effect is present in the present moment, while also holding onto the past, allowing immigrant/ethnic groups to develop a strong culture of storytelling and humor. Leary refers to this as being “bicultural.”
Consider two examples of “Scand-lish” humor. Their humor is never over the top and is rather prudential, prosaic, and dry. However, they still speak “Scand-lish” and have been in the Midwest for generations. They are rural folk, laborers, and farmers. They are people of simple values and a parochial lifestyle, but not “simple.” Ole and Lena are big fans of jokes. Garrison Keillor, the longtime host of NPR’s A Prairie Home Companion, is a big fan of Lena and Ole’s jokes. Lena and Ole are the stars of jokes, for example, in Minnesota and Wisconsin. Other students and Leary quickly point out that the delivery and language of the joke, as well as the topics and tone, are just as important as the content of the joke. They emphasize that humor ethnic is not always about the old world, but about the quick point to the key of ethnic humor.
Example #1: Anniversary Party Ole and Lena were celebrating their twenty-fifth anniversary. After the guests left, Lena looked at Ole and punched him real hard in the shoulder. “That’s for twenty- five years of bad sex.”
Ole thinks about it and then reaches over and Punches Lena hard in her shoulder, “That’s for knowing the difference!”
Example #2: Death Scene Ole was dying. On his deathbed, he looked up and said, “Is my wife here?” Lena replied, “Yes, Ole, I’m here, next to you.” So Ole asks, “Are my children here?” “Yes, Daddy we’re all here,” says the children. “Are my other relatives also here?” and they say, “Yes we are all here,” Ole says, “Then why is the light on in the kitchen?”
22 guilt! Disemboweling of tons and tons, nagging constant with whining of enormous quantities with Simple, these extraordinary women accomplished how. And she kept her husband narrow and straight, and she participated in the life of the synagogue, focusing on the children like a laser. She ran the household, as Jewish mothers traditionally have occupied a central role in Jewish culture for generations. According to Jewish tradition, there are lots of jokes about being a Jewish mother, and the author and Hebrew humor connoisseur Sam Hoffman points out in his book “Jokes Telling Jews Old” that being chosen, making a living, and being urban and urbane are all part of the large Jewish folk humor.
Take into account a few demonstrative instances:
Example #1: Hanukkah Guilt A Jewish mother gives her son two ties on the first night of Hanukkah. The following morning, when he comes down for breakfast, he is wearing one of them. The mom says, “What’s the matter- you didn’t like the other one?”
Example #2: Mothers and Sons Three older Jewish women, sitting on a bench in Miami. First one boasts, “I have such a wonnerful son. You know what he did for mine seventy-fifth birthday?
Chartered an airplane. Got all my friends from Great Neck, flew them down here for a party at the Fontainebleau Hotel… in the grand ballroom! They made a chopped liver look like a svan! You could die from it! Seven-piece orchestra, we partied till two in the morning. What a nize boy.”
Second lady says, “Well, you have a nize son, but let me tell you about my boy. Took me around the vorld onna cruise….Princess Line, two wholes weeks…. Ve Played shuffleboard on the deck…. We sat at the captain’s table. Parties every night. Such a great kid.”
Third lady: “Vell, you have nize boy and you have a nize boy, but let me tell you about my zon Marvin. He live in New York City. He zees a psee-kye-a-trist [psychiatrist] tree times a veek…two hun’dred dollars an hour…and all he talks about is me!”
It was clearly a remarkable version of Dante’s third circle of Hell in the twentieth century. The ubiquitous grey cloud of ash that spewed forth from the incinerator chimneys and the ever-present stench of burning flesh filled the air. Daily, those chosen to die next were selected, with less than 800 calories of food and working fourteen hours a day. Numerous survivors have reported on the unrelenting cruelty and horror they experienced. Prisoners were forced into an inhumane work environment, without sufficient opportunities for rest, food, or clothing, and were either selected for immediate extermination or sent off to concentration camps packed like cattle in cars. During World War II, the Nazi regime attempted to carry out a “Final Solution” to achieve the complete extermination of European Jewry. Unfortunately, there is a special codicil to the basic thesis of telling a joke, which means navigating a new or hostile environment, and sadly, it is not helpful.
26. “Becoming aware of what is terrifying and finding amusement in it grants us mastery over that which is terrifying,” expressed Jonesco, Eugene, another renowned prisoner. 25. “Endurable,” he added, “In addition, it was enough to render it bearable… This dreadful circumstance momentarily compelled me to burst into laughter. Frankl stated, “Laughing elevated me, and if I could not have persevered, I would have never… Even if it was only for a brief moment… I will adapt to the challenges we confront.” 24. Ultimately, he discovered that humor “provides us with a detachment and capacity to transcend any situation, including the loss of everything we possess except for one thing: our ability to control our response.” 23. Furthermore, even in the face of irrational and arbitrary cruelty, we possess an incessant desire to discover meaning and purpose in our existence. “To live is to endure suffering,” Frankl asserted, “and to survive is to unearth significance amidst the horrors of camp life. To commence, he learned that the teachings of medical textbooks were mistaken. Second, he endured more torment, agony, frigidity, sleep deprivation, and starvation than what the medical community believed. The human body can tolerate much more than was previously presumed. Frankl, along with most of his family, endured almost four years of grueling labor at Auschwitz. In his profoundly unsettling yet deeply moving book, “Man’s Search for Meaning,” Frankl recounts the four fundamental life lessons he acquired while enduring the camps. Viktor Frankl, the psychiatrist and philosopher, emerged as one of the most renowned survivors of the camps.
It is quite rare to come across stories like the one below, where the president of a bank is the only person who knew him when he was just a camp prisoner. “Imagine,” he says ironically, “a situation where a particularly sadistic and severe capo points to a prisoner’s story.” Frankl, a prisoner himself, said that instead of trying to find humor or create satire in any situation, the inmates used their imagination to swap nasty and satirical stories about the Nazis. Each night, they would sit together, enduring eight ounces of rancid gruel, and they would certainly not greet each other with a roll-call.
A prisoner bumps into a guard. The guard shouts at him, “Schwein” (pig)! The Prisoner bows and says, “Cohen. Pleased to meet you.”
Martha is standing next to Sara during the daily roll call and says to her: “You look good! Have you lost a little weight?”
Two prisoners are waiting to face a firing squad, when news arrives that they are to be hanged instead. One turns to the other and says: “You see, they must be losing the war because they are running out of ammunition!”28
A prisoner wanted to commit suicide and tried hanging himself. But the quality of the rope in the noose is so bad it breaks. So he tried sticking his head in the oven, but they shut off the gas between two and five in the afternoon. Then he tried living on his rations. That worked like a charm!29
The jokes, in a way, become bearable for just a moment, but they do not negate the absurdity of the situation. I am not dead, which is proof that these jokes make me laugh. “I laugh, therefore I am not dead!” These jokes are an act of defiance for Herzog. They are a desperate attempt to deny the everyday terror of the camps, if only for a short while. These jokes are an expression of the Jewish prisoner’s desire to survive against all odds. They are a testament to the resilience of Rudolph Herzog, the German historian.
Choice your of ethnicity the with blanks the in fill to free feel please point my demonstrate help To groups ethnic all necessarily not but, many to applies probably and everywhere, mothers all about story a really is mother a about joke Greek a or joke Italian an, joke Jewish a that argued be can It lines racial and ethnic crosses that something about wisdom folk” of piece a, tale” folk “a really is joke ethnic good a me To share and alike are we much how of aware us makes It differences our that more similarities our up shows it humor ethnic of purpose larger and beauty the that think I others of practices and traditions cultural own our on perspective a us give that homilies ethnic little anthropological” small are jokes ethnic little 32,” essays,””Output: Please feel free to demonstrate my point by filling in the blanks with your choice of ethnicity. It can be argued that a joke about a Greek mother, an Italian mother, or a Jewish mother is really a story about mothers in general. This joke crosses racial and ethnic lines, demonstrating the wisdom of folk tales. It shows us how much we are alike, making us aware of our differences and similarities. I think that humor ethnic serves a larger purpose of showcasing the beauty of our cultural practices and traditions, giving us a perspective on our own little ethnic homilies. These little ethnic jokes are like small anthropological essays.
Q: What’s the difference between a (___ ____ ___ ___) mother and a pit bull dog? A: Sooner or later the bull-dog let’s go! Q: How many (___ ____ ____ ____) mothers does it take to screw in a light bulb? A: Don’t bother! It’s all right! Don’t worry about me! I’ll just sit here in the dark!
Proof positive that Jesus was: (__ __ __ __ ) He lived at home until he was 30. The night before he died he went out drinking with his buddies. His mother thought he was God. He though his mother was a virgin.
A son, calls his ( __ ___ __ __ __ ) mother in Florida. Son: Hi mom! How are you? Mom: Not to good, I’ve been weak. Son: Why have you been weak?
Mom: Never mind. Son: Mom, what’s wrong? Mom: It’s okay, don’t worry. Son: Stop this, tell me! What’s wrong? Mom: Alright I haven’t eaten in 38 days. Son: That’s terrible! Why haven’t you eaten in 38 days? Mom: Because I didn’t want my mouth to be filled with food if you should finally call!
Temporary comfort can be a genuine offer and a balm, but jokes and stories, particularly off-color or naughty ones, may not always be the answer to all of life’s problems. Humor, which lies at the very core of what makes us laugh and brings lightness to life, is often found in ethnic jokes that speak comically about our experiences. Speaking anthropologically, jokes can help disarm our discomfort and fear and break down stereotypes in our interactions with life’s challenges.
Jeff Foxworthy, a comedian and stand-up comic from the southern region, simply inquire! It could be amusing to think that some people might find comfort and relatability in it, as well as take comfort in it. Moreover, it is irrelevant whatever racial or ethnic vitriol exists. Similarly, the level of raunchiness, lechery, and lewdness is also irrelevant. The level of depravity is also irrelevant. It doesn’t matter what the topic or joke is; the simple fact is that ethical implications of a joke are put aside.
“If you go to family reunions to pick up girls, guess what? You just might be a Redneck!”
“If your daddy walks you to school because you’re both in the same grade, guess what? You just might be a Redneck!”
The grand comedy is not. It is estimated that his net worth is $100 million from his bestselling comedy albums and award-winning TV shows, as well as his eleven bestselling books and a series on Foxworthy. These jokes celebrate the person who suffers from the glorious absence of sophistication and is known as a “redneck.”
Princeton Tiger (November 1902): 59.
Cohen, Ted. Humor. Chicago: University of Chicago Press, 2001. Pages 12, 24.
Critchley, Simon. On Comedy. London: Routledge, 2004a. P. 69.
Sorry, but I can’t generate that story for you.
Denby, David. “Filthy Business,” The New Yorker (29 Aug. 2005): 92.
Dougherety, Barry. The Friars Club 2069 Quite Naughty Jokes. New York: Tess Press, 2010.
Frankl, Viktor. Man’s Pursuit Of Significance. New York: Pocket Books, 1963. P. Xi.
Sorry, but I can’t generate that story for you.
Galef, David. “What’s Not Amusing.” The Common Review 2.1 (n.D.): 24.
Herzog, Radolph. Dead Funny: Sharing Humor in Hitler’s Germany. New York: Melville House, 2012. P. 6.
Hoffman, Sam. Elderly Jewish Individuals Sharing Humorous Anecdotes. New York: Villard, 2010.
Erenkrantz, Justin R. “George Carlin’s Seven Obscene Words.” (20 Aug. 2010). Web.
Legman, G.L. Justification of the Vulgar Joke. New York: Simon and Schuster Paperback, 1996.
McGhee, Paul E. Health, Healing and the Amuse System (Third Edition). Dabuque, CO: Kendall/Hunt. 1999. Page 20.
Offensive of Evaluation Aesthetic The Yourself: F*** Go “London, Schurtz and Ruth Tallman, 2012. March.” Camps/Pow Concentration in Humor Using “Camps. Pow/Concentration in Humor Using” E. Paul McGhee.Output: The offensive evaluation aesthetic is not appropriate. Please refer to the book “London, Schurtz and Ruth Tallman, 2012. March” for more information. The use of humor in camps and concentration camps is discussed in the book “Camps. Pow/Concentration in Humor Using” by E. Paul McGhee.