Patrick Garrido

English 2367.02
Inclusivity in Humor
Humor is a particularly unique form of human socialization. While many activities, such
as eating and playing, are solely focused on the aspect of building community, humor is one of
the few forms which also focuses upon the divisions within a community. Generally speaking,
humor is another form of socialization, a way in which we as humans communicate. While the
theories for the reasons behind this are varied, ranging from play to asserting superiority, the
ultimate goal of the use of humor is to foster a relationship, usually positive, with our peers.
However, many forms of humor seem at the surface to be diametrically opposed to this idea.
Jokes are often rude, curt, and span the range of poking fun to flat out insulting. Many forms of
humor focus on specific groups or stereotypes which the comic finds undesirable, or even
detestable. Humor can, in many ways, act similarly to a sermon, being overly acrimonious and
lacking in any form of subtly. Some comics, such as Lewis Black and George Carlin, focus their
entire careers to this form of humor, spending much of their time writing material meant to
harangue some group or another. Despite this, the audience always seems to connect with the
jokes, and often the idea of the comedian as a figure one can relate to is prevalent in many
successful comedians careers. Jokes are often told from the perspective of familiarity, and the
settings for many jokes are meant to be easily understood and identified with. This brings to
question, why is this inclusivity, this relationship with the comic and the audience, so
important? What does it bring, or add to the comedians routine? Through inclusivity, the

comedian fosters the environment necessary for the creation of the community. With this
inclusivity, the comic becomes more convincing, the humor taking on a form of assumed
humility. To this end, the comic uses inclusivity to enhance their humor, and it has become an
integral part of many comedic routines.
The amount of inclusivity used in many successful comedians routines creates a strong
argument for its importance in humor. Comedians such as Aziz Ansari, Louis C.K., and George
Carlin focus on creating relatable humor, and even niche comedians such as Larry the Cable Guy
and Russel Peters follow this formula. Many of their jokes are meant to be easily understood by
the audience, and are often portrayed as derived from real experiences. For example, during
Aziz Ansaris Dangerously Delicious special, Ansari talks about the difficulties involved with
being attracted to a waitress. In particular, Ansari focuses on the poor nature of the advice
given to him by his friends, and how severe the consequences would be were he to follow it. To
this end, Ansari already begins using inclusivity by nature of the jokes setting. By talking about
dating, and the vulgar nature of his desires with the waitress, Ansari fosters a sense of honesty
and vulnerability. Through this, the audience is not immediately disgusted or put off by the
nature of Ansaris joke, but reacts approvingly. This device allows the comic to relate to the
audience, giving the joke, and the comedian, a sense of realism. It must be noted, however,
that this apparent veracity may very well be a part of the comics character, or performance.
Often, the goal is to attain a sense of honesty, rather than simply reciting past experiences playby-play. Regardless, it is this form of inclusivity which truly gives the comic relevance. Niche
comics exemplify this type of humor specifically, with specials such as the Blue Collar Comedy
tour and comedians such as Jo Koy and Russel Peters. Often, their jokes are incredibly insular,

intended to include an audience of a much smaller scale. While the appeal of Russel Peters
jokes is universal, they gain a particular meaning when told to those who understand Indian
culture. Again, we see the fostering of a group, but rather than focusing on the concept of the
everyman, Peters and Koy emphasize their racial identities. This type of humor can extend
beyond race, and comedians like Bill Engval and Larry the Cable Guy cater to a group connected
through social and economics similarities. Here, the idea of the average American, working a
blue collar job, is the focus, and is often the concept which is most used to relate to the
audience. Though these two genres of humor are slightly different, the use of inclusivity,
whether cultural or economical, once again shows itself in the work of the comic. Again, the
comic becomes the epicenter for a form of communal appreciation, all through the use of
inclusivity. Even political ideologies can form the basis of comedic inclusion. George Carlin
exemplifies the politically minded comic, with his rants and raves against the Republican Party
during the 70s and 80s. His disgruntled views on the GOP and issues such as the existence of
God and abortion not only shock, but once again brings together an audience of like-minds.
While these examples are few, they are merely the foremost in a field littered with the creation
of groups and the use of inclusivity in order to foster community.
Perhaps it is in the psychology of inclusive humor in which one can find its impact and
importance. Throughout studies and theories of humor, the idea of inclusive humor has been
shown to have a positive effect when compared to negative forms of humor. Through the
process of relating a comedic act with the audience, not only does the joke become easier to
understand, but it creates a positive environment and feeling within the group. A study in the
Scandinavian Journal of Psychology examined the role of humor style in relation to well-being.

Surprisingly, the use of inclusive, self-enhancing humor correlated to an increased happiness

and outlook on life. But what does this mean in regards to Inclusivity? While comics are known
to often use self-defeating humor, in doing so they often can raise the spirits of the audience in
doing so. By raising the self-confidence of the audience, the use of inclusivity can be further
justified. Through this device, the comic again further cements the bond between audience and
performer through sympathy, or superiority. To the audience, the comedian becomes an
example of pity and woe, and thus through their empathy, begin to connect with the character.
Again, this raises the question of the nature of truth behind the self-depreciation. Does it
become merely another tool for the comic to reel in the audience? To what degree is the
character embellishing? Regardless, the psychological impact of inclusivity in humor
underscores why it is so frequent throughout many comedians works. However, inclusive
humor can be used for more than just comedic careers. A study on the influence of inclusive,
self-depreciating humor used by candidates throughout the 2008 presidential election
underscores the effects this particular form had on the minds of voters. When polled, many
voters responded that the candidate who made greater use of inclusive humor was easier to
identify with, and fostered a sense of honesty very much similar to the similarities one feels
with a comedian while on-stage. While greater use of inclusive humor was not the deciding
factor for the presidential election, the psychological reaction garnered by those polled further
underscores the importance of the relation between the comic and the audience, and how
inclusivity helps nurture it.
Of particular note is the use of self-depreciation in order to foster inclusivity. Often, selfdepreciation is used by the comic as a tool to create the sense of humility. This can be related

to the idea of Superiority Theory in humor. According to its author, Thomas Hobbes, humor
expresses our superiority over others. To this end, the comic instills the audience with a sense
of superiority. Perhaps this is why self-depreciation features so much in comedic routines, and
why it has such a psychological precedent. Additionally, often times the subject matter of a
comics work tends to focus on the negative aspects of a situation. By creating the image of a
hard-luck character, one is able to coerce both empathy and superiority in the audience. On the
surface, often the jokes evoke empathy, such as Ansaris earlier quandary with the waitress. At
the same time, however, the audience cannot help but feel a degree of superiority over the
comic. Comedians tend to emphasize the gritty and dark nature of their lives, focusing heavily
on the immoral and even revolting. Through this instilled superiority, the audience finds humor
in the plight of the comic. Another example of this is comedian Louis C.K. Throughout many of
Louis C.K.s routines, themes such as the difficulty of life as a single parent and dealing with
loneliness are prevalent. A topic commonly explored is Louis frequent masturbation, which he
unabashedly admits to. In addition to these, Louis often pokes fun at his dim view of human
nature, and how easily he becomes frustrated with those around him. Normally, these lines of
conversation would result in social castigation, but because comedians like Louis C.K. set up the
jokes through self-depreciation, the audience connects with the comics vulgarity. Through selfdepreciation, the comic invites and includes the audience in laughter.
Another important theory of humor which relates to the importance of inclusivity is the
idea of the carnivalesque. According to the concept of carnivalesque, the idea of the carnival, or
in this case the comic, is not purely one of humor, but it represents a space in which the
community as a whole drops social norms and can discuss topics normally considered taboo in

the society as a whole. To this end, comedians can almost be viewed as social institution, meant
to include the community at large in the carnivalesque discussion, and perhaps formulate new
ideas which could affect society. A good example of a carnivalesque comedian is George Carlin,
who often used his routines as a form of political discussion. While the inherent bias of Carlins
work is certainly obvious, his politically charged humor is exemplary of how inclusive humor,
albeit with a smaller audience, ties in with the theory of the carnivalesque. In Carlins Back in
Town special, Carlin talks about his grievances with the conservative party. He discusses topics
such as abortion and the death penalty, mixing political sentiment with humor. Through humor,
Carlin is using the abstract nature of comedy to bring up serious issues with society. But what
about this humor makes it inclusive? While comedians such as Ansari and Louis C.K. create a
sense of self-depreciation, Carlins humor focuses instead on treating the audience as equals.
Carlins jokes are constructed in a way to make sense to the audience, and while they are
radically guilty of oversimplification and straw-man argumentative fallacy, Carlins extravagant
extrapolations of his opponents viewpoints instill the audience with a sense of shock and
superiority. However, this superiority is not directed at the comic, but rather at the group the
comic is making fun of. Carlin sets up the conservatives as backwards, archaic and hypocritical
people, and the incongruity of their, admittedly alleged, statements when compared with
simple facts gives the audience a sense of superiority, as if they almost know better than the
group Carlin points out. To this end, the comic sets up the idea of the audience as a group, all of
whom are, at least theoretically, smarter than the rest. This relates back to the idea of the
carnivalesque. According to Bakhtin, this ridiculing of the current accepted system or
ideologies was the first step in a stage of metamorphosis for society, in which old ideas were

swept aside and replaced with the new. While the intentions and goals of comics such as Carlin
may not be so grandiose, inclusive humor most can most certainly fall within the category of
the carnivalesque, and can highlight a few of the social consequences of its use.
While the case can most certainly be made that inclusivity is prevalent throughout
humor, it is not by any means unopposed or singular in existence. There are, often times, jokes
whose main point is purely to harangue or even flat out insult another party, sometimes even
the audience themselves. While these jokes tend to fall outside of the purview of inclusive
humor, they are most certainly a key and important part of humor and can be just as effective.
Comedians such as Daniel Tosh tend to focus purely on the negative aspects of humor, while
avoiding or ignoring inclusivity altogether. Whereas Louis C.K. and Aziz Ansari are attempting to
draw empathy and instill superiority, Carlin is attempting to invite the audience to a social
discussion, and comedians such as Jo Koy and Bill Engval are merely attempting to poke fun
within their respective groups, Tosh focuses purely on delivering hard hitting, yet unerringly
accurate and unabashedly vulgar insults. Throughout most of his jokes, Tosh merely uses
hyperbole and frank disappointment and even frustration to elicit laughs from the audience.
Despite arguments of the crude nature of his jokes, nevertheless it can be safely said that he
has indeed succeeded in avoiding the usage of inclusive humor. For Tosh, everyone and anyone,
including the audience themselves, are targets to be painted any way he wishes. During his
June Gloom tour, Tosh spends much of his time prefacing his jokes, telling the audience that he
understands his jokes can be vulgar, but that he is not only happy, but ecstatic that someone
might be offended by them. While again, we see Toshs character in play, the nature of the joke
is meant purely to offend, and does so in a way that is, shamefully, for some, humorous.

However, it raises an important point for the comic, in that inclusivity is yet another tool,
effective though unnecessary, in the craft of comedy.
Ultimately, the use of inclusivity in humor is a staple upon which many jokes and
comedic routines are built upon. Its prevalence in humor and frequent use in routines highlights
just how important and fundamental it is throughout comedy. Whether it is the moralistic and
yet heart-warming humor of Louis C.K., the sympathetic, yet superiority inducing jokes of Aziz
Ansari, or even the politically minded and charged style of George Carlin, the psychological
impact of inclusivity cements it as a cornerstone of humor.