Tag Archives: Funny or Die

Laughing with Laugh Tracks

people_laughing

Teaching American Humor: Laughing with Laugh Tracks

My life would be better with a laugh track. My writing would be better, too. So would your reading experience–well, with a laugh track and a few drinks…

I am with the majority opinion on this issue, at least according to most producers of American situation comedies for the last sixty years. The reasoning behind the laugh track, as I see it, goes like this: A laugh track makes people laugh; people who laugh enjoy situation comedies; people who enjoy situation comedies see plenty of commercials; people who see commercials while in a good mood tend to buy things; a laugh track makes people laugh, and so on… Those who buy and sell commercials fund sitcoms, and they have never been inclined to trust writers or audiences. Neither do I.

I have skillfully written two first-rate jokes thus far. But, of course, you can’t really know that because this post does not have a laugh track. I spent several hours trying to insert laugh track audio here and failed. That’s funny–I think–but how can any of us be sure?

Audience-clapping

Teaching the American sitcom requires some discussion of laugh tracks. I admit that I have only glossed over laugh tracks in courses on American humor thus far. This has been a mistake. I have awakened to an obvious point: laugh tracks provide a compelling way for students to consider a more challenging array of characteristics of the art form–from the aesthetic to the mundane, from the heart of performance to the mechanics of production, from the implicit honesty of comedy to the manipulative potential of technology. From now on, I will begin all coursework focused on the sitcom with the laugh track.

Here is how I came to this astounding awakening; it’s all about The Big Bang Theory. I like the show (though I can’t decide whether I should consider it a “guilty pleasure” or an appreciation of solid, if broad, writing). The laugh track, however, drives me crazy. It is loud and intrusive. I don’t believe it at all. I am not alone. Any quick Google search of “laugh tracks” will provide over 31,000,000 hits. Type in “Big Bang Theory,” and you will find 127,000,000 hits, virtually all of which refer to the show (I didn’t check out all of them, by the way. I simply reached that conclusion using the scientific method based on my observations of the first two pages). Here is a fact: lots of people care about the television show; almost nobody cares about the scientific theory. A search of the show title combined with “laugh tracks” gets 181,000 hits. Lots of people hate the laugh track (lots of people hate the show, too). YouTube has plenty of clips of the show with the laugh track removed. Here are two examples:

http://www.youtube.com/watch?v=PmLQaTcViOA

http://www.youtube.com/watch?v=ASZ8Hks4gko

These clips draw out two basic responses from interested parties: one, that the show is hurt by the laugh track (so the complaint concerns its use rather than the inherent quality of the show itself); two, that the laugh track lamely attempts to cover up a lousy show. There is no reconciling of these opposing positions, but the removal of the laugh track is disingenuous in that it creates a show wherein the comedic timing has been wholly distorted. The Big Bang Theory is filmed in front of a live audience, and the performance reflects the interaction between audience and cast. The producers of the show claim that the audience responses are genuine and have not been “sweetened,” a term to imply that the laughter has been engineered in production to enhance audience responses. This claim is disingenuous as well. Any production process will inevitably “sweeten” the final product–from placement of microphones to volume applied. All steps in the process of preparing a show for airing are a form of “sweetening.” Simply because the producers do not use canned laughter (laughter recordings NOT from an live audience) does not mean that no laughter manipulation occurs. Of course it does. As always, The Onion provides the best satirical take on laugh tracks with the show by simply raising the volume of the laugh track so that it wholly overpowers the show itself: Big Bang Theory with laugh track enhanced by The Onion

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“There you go again”: Humor in Presidential Debates

In early August, Fox News and Facebook organized the most watched primary debate ever, in Cleveland, Ohio, where 17 Republican presidential hopefuls gathered in two debates in hope of emerging as the star of the field. The pundits are still out on who exactly ”won” the debate, curiously there seems to be something of a correlation between the ideology of the pundit and whom they declare the winner. Among much post-debate think-pieces, media bickering, and inappropriate comments by Donald Trump, the perhaps best, and certainly funniest, piece was a bit by Funny or Die featuring kids reenacting the debate.

Jimmy Margulies cartoon on the Republican Debate

Jimmy Margulies cartoon on the Republican Debate

Since presidential debates became a staple of the election season following the 1976 debate between Gerald Ford and Jimmy Carter, they have been the source of much comedy fodder. Saturday Night Live has over the years, since 1976, provided such gems as this Bush-Clinton-Perot debate, focused on Arkansas as backwater, this Gore-Bush sketch, Will Ferrell as Bush became a long-time favorite, and the instant classics of Tina Fey as Sarah Palin, like this. The Funny and Die bit, however, highlights the inherent humor in the actual debates. For while it might be more fun to just catch Dave Letterman’s recap of the debates than actually watching hours of political posturing, even the politicians drop some funny lines.

Historically, the presidential debates debuted with the 1960 Kennedy-Nixon debates, but as both Lyndon Johnson and Nixon then avoided debates in their 1964, 1968 and 1972 runs respectively it wasn’t until the 1976 campaign they returned. Since then they have been a crucial part of any election cycle, including the primary cycles. The humor in presidential debates consists mainly of inadvertent gaffes or advertent zingers. The perhaps foremost example of the first category dates back to the 1976 debate where incumbent president Gerald Ford claimed there was no Soviet domination of Eastern Europe. Max Frankel of the New York Times, serving on the panel of moderators, can barely conceal his grin as he in disbelief asks if the president is actually saying Eastern Europe is not within the Soviet sphere of influence. The blunder by Ford enhanced the impression of him as somewhat dim, and was used to great extent by the Carter campaign. A more recent example of a humorous debate mistake would be Rick Perry’s inability, in a Republican primary debate in 2012, to remember the third government agency he would do away with if elected to the White House. Falling back on his Texan charm Perry tried to brush it aside with a nonchalant “oops”, which only made the whole exchange sillier. Speaking of silly, Mitt Romney’s attempt at humor when proposing to cut funding to PBS, saying that he likes Big Bird (of Sesame Street fame) but would still axe it, also misfired as it gave more than ample ammunition to editorial cartoonists, meme-ers, and comedians all over the country.

Romney, Debate, PBS, Big Bird, Jim Lehrer, political cartoon

Jeff Danziger cartoon of Mitt Romney proposing to cut funding to PBS.

When the candidates in the debates are consciously humorous it is more often by a joke on the opponents account, a zinger. These certainly seem to have decreased in recent years, and the defining debate zinger remains one from 1988. Irritated of continuing criticism of his inexperience, vice presidential candidate Dan Quayle in the 1988 vice presidential debate explained that he had as much experience as John F. Kennedy had when he sought the presidency in 1960. His opponent, long-serving Texan Senator Lloyd Bentsen, saw his chance for a put down and clearly took pleasure in delivering the zinger of the century. “I served with Jack Kennedy, I knew Jack Kennedy, Jack Kennedy was a friend of mine. Senator, you’re no Jack Kennedy”, Bentsen replied with a smile hardly hidden. Increasing the comedy, Quayle’s face dropped to the floor and clearly hurt he said the comment was uncalled for. Bentsen’s comment was immediately viewed as bold; if he wasn’t crossing a line he was at least approaching that line. The risk with crossing the line is that you come off as mean, which is a reason most of the best zingers hail from vice presidential debates – the designated hatchet men. Back in 1976 Republican vice presidential candidate Bob Dole showed off a sharp wit, repeatedly making cracks about his opponent Walter Mondale and presidential candidate Jimmy Carter. Viewers found Dole lacking in seriousness and coming off as a wisecracker, making him unappealing.

Ross Perot, debating with Bush and Clinton in 1992, similarly highlighted his comedic chops with repeated jokes and zingers. As a candidate from outside the political establishment the strategy was risky, it was crucial for him to appear presidential, and ultimately a failure. “It’s nice that someone has some humor and lightens things up, but now it seems like every opportunity he had to speak he had a quick one-liner”, was the verdict of one focus group. The risk of not appearing responsible and mature enough for the White House actually led the naturally witty John F. Kennedy to tone down his humor in the 1960 debates. As Kennedy was struggling with the perception of him as too young and his reputation as witty aldready widely appreciated the strategy seemed good. Still, sense of humor remains a key factor for voters in determining the character of a candidate, not to mention likability. Moreover, a well delivered zinger or joke is almost certain to reach a larger audience by making it to post-debate coverage – especially on television and today YouTube. To find a balance is vital, yet difficult.

The only president who ever truly mastered humor in presidential debates was Ronald Reagan. “The Great Communicator” had a good sense of humor and a background in delivering lines and presenting himself appealingly. In 1980, as Jimmy Carter laid out his case against Reagan, he smiled confidently and good-naturedly said “there you go again” before defending himself. The almost laughing Reagan uttering the “there you go again” is as close to iconic as presidential debate moments get. It was a part of Reagan’s debate strategy to throw Carter off with humor and smiles. When facing Mondale four years later, Reagan delivered another classic when he ironically answered a question by promising not to make his opponents age an issue of the campaign – his own age was of course what had been questioned in recent weeks. The joke not only drew large laughs from the crowd but from the moderator and Mondale, again highlighting Reagan’s affable personality. By mixing self-deprecation with irony and a message, Reagan showed off presidential debate humor at its best; if even the opponent is getting a good laugh you know you’re doing something right. Apropos irony, we still have some twenty debates in the 2016 cycle to look forward to!

For more commentary on the 2016 elections, check out the interdisciplinary election podcast Campaign Context at www.campaigncontext.wordpress.com.

Live “Wire”

Although the likelihood of the following event is very, well, unlikely, if I were in some kind of hostage situation and forced at gunpoint to name from memory at least two mind-blowingly bad musicals that were never made, I could do it. One would be from Woody Allen’s standup routine from the 1960s, during which he joked that he was once “at a party with a very big Hollywood producer, and at that time he wanted to make an elaborate cinemascope musical comedy out of the Dewey Decimal System.” The other would be from the David Sedaris story “Smart Guy” in Me Talk Pretty One Day, in which he pits his own intelligence against that of his boyfriend Hugh, who once “with no trace of irony… suggested that the history of the chocolate chip might make for an exciting musical. ‘If, of course, you found the right choreographer.'” To my knowledge, both projects are neither in development nor should be (although with Kickstarter these days, anything’s possible). And so, meeting the eccentric demands of my imaginary abductors, I am freed. You might want to mentally file these away as a precaution; the world is a dangerous place.

The list of unlikely candidates for unnecessary musicals might have once have included The Wire, David Simon’s gritty, gorgeous drama about the complex social ecologies of life in Baltimore. (This month marks the tenth anniversary of its debut on HBO.) And while a full-fledged stage show is quite thankfully still a fiction, Funny or Die recently produced a commercial for The Wire: The Musical that reunites some of the original cast in a performance that is exactly what The Wire: The Musical would be if it were real — which is everything you remember about The Wire, but with more jazz hands and the occasional high kick.

Need another hit? Click through for a Victorian rendering of The Wire, and the inexplicably actual version for children.

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