You’ve Crossed the Line:
I wanted to gather as many offensive jokes and bits that I can find to see if I can make a collection.
Meanwhile, US comedian Sarah Silverman has joked about rape in a way that is more obviously satirical:
Needless to say, rape, the most heinous crime imaginable. Seems it’s a comic’s dream, though. Because it seems that when you do rape jokes that, like the material is so dangerous and edgy. But the truth is it’s like the safest area to talk about in comedy. That’s the trick. Cause who’s going to complain about a rape joke? Rape victims? They don’t even report rape. I mean, they’re just traditionally not complainers.
Silverman directs her joke at male comedians who tell rape jokes. She juxtaposes a rhetoric of edgy taboo breaking with a reality of victims to critique male comedians who use rape in their comedy. Indeed, she highlights a hypocritical culture which simultaneously refer to rape as a serious crime, while also laughing at rape jokes.
15. What does tofu and a dildo have in common?
They’re both meat substitutes.
17. How many Emo kids does it take to screw in a lightbulb?
None, they all sit in the dark and cry.
20. What do you call an IT teacher who touches up his students?
A PDF File.
24. I added Paul walker on Xbox…
But he spends all his time on the dashboard.
26. Why does Stephen Hawking do one-liners?
Because he can’t do stand up.
44. Say what you want about pedophiles…
But at least they drive slow through the school zones.
46. What is the difference between Michael Jackson and a grocery bag?
One is made of plastic and is dangerous for children to play with. The other is used to carry groceries.
35. Why isn’t there a pregnant Barbie doll?
Ken came in another box.
I’ve found that comedy illustration isn’t as unpopular as i thought. Artists like Mr Bingo and David Shrigley use humour in their illustrations to add effect.
I’m now trying to explore how theese artists use humour and how it can influence my design process.
Mr Bingo Talks about trying to make his illustration stand out, and be funny in itself without the aid of the joke or article it’s attached to.
“The thing about skydiving is why do they even bother with the helmets? Can you almost make it ? You might as well wear a party hat, what’s the difference?”
it is safe to say that, when a specific item becomes the object of a popular joke, something can (has to?) be done to improve it. What better answer to give for the company that produces this item? To be able to listen to consumers and fix the issue is the mark of a responsible company.
Stand-up comedians are cynicism experts. It powers their observational skills and provides punchlines. The reputation of a product or a brand depends on how the company — and its design teams — chooses to react.
Besides everyday things, human behaviour is another favorite theme. I’m not talking about relationships between two people, but people’s relationship to things. It links again their work to another aspect of user experience design, through psychology and sociology. They might not analyse it, but they will identify the phenomenon.
Old Timey Humour
I wanted to look at what comedy was like in the past and compare it to present day. What kind of jokes were acceptable then and are they still relavant now? I thought a good starting point would be the comedy carpet.
I’ve done a project on the comedy carpet before and I find it extremely interesting. I’m wondering if i can use some of the magic and creativity behind it to inspire my own work.
Quote from vice article: https://www.vice.com/en_uk/article/mba49a/all-your-favourite-old-british-sitcoms-are-racist-as-hell
“The “British sense of humour” – that sacrosanct, 20th-century myth which our strange nation, riddled as it is by self-doubt and insecurity, is still so beholden to. Veins throbbing, coked-up on nostalgia, we’ll tell anyone who’ll listen: “We understand sarcasm!” “Monty Python was actually really culturally important and not just six public school boys doing impressions of their mums!” “John Oliver is popular in America!”
Sadly, however, as with pretty much everything we celebrate about our collective history, the reality of our comedic heritage is more problematic than we often care to remember. Put simply, for every “fork handles”, there’s a sketch like Spike Milligan’s “Pakistani Daleks“.
Britain’s history of racist sitcoms is not much of a secret. In recent years, they’ve matured into a sort of quaint artefact to be scoffed at by a more enlightened generation – popping up on Oh My God Can You Believe It Was the 70s Once-type shows, where former Loaded editors and stand-up comedians giggle incredulously at clips, while Barry Cryer blinks slowly and assures us “it was a different time.”
the ‘comedy carpet‘ by artist gordon young in collaboration with why not associates, was officially opened in blackpool today. 300 slabs of granite cover around 2200m2 making it one of the largest pieces of public art ever commissioned in the UK.
– following text from blackpool council
created as part of the major regeneration of the promenade, the comedy carpet was commissioned by blackpool council, with part of a £4m grant from cabe’s seachange programme. catchphrases, jokes and songs from more than a 1000 comedians are now immortalised in concrete and granite artwork which is situated at the foot of blackpool tower.
artist gordon young has been working in the public realm for over 20 years creating pieces that mine rich seams of social history, engage communities and extend the relationships between art and architecture. at the heart of all gordon’s young’s work is language – words that entice, fascinate and on the comedy carpet, amuse. titter ye not, just like that, oooo-er matron, nudge, nudge wink, wink, oh betty! suit you sir, yeah but no but, what’s on the stick vic? , in the comedy carpet young has created a giant ‘giggle map’ immortalising the UK’s favourite comedians and comic writers from the hey day of music hall to 21st century stand up.