Funny Business

The comedian Dina Hashem discusses joke writing, Jersey comedy clubs, and building a career in the age of Netflix

by

Max Ogryzko

Season Categories Published
MP504 Q&A

Mar 29, 2022


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I’ve tried stand-up comedy six times at this point. I’ve begun every set with renewed excitement that this will be the crowd that laughs at my personal favorite joke: “I used to dislike the taste of vegetables, and now I eat ass.” 

Still no luck. I have no idea how I can make that not funny, I mean it is funny, right? Is it my delivery? I guess it’s all about delivery.

Dina Hashem is a master of delivery. Her shy, reserved presence animates her withering lines. Hashem, in the 2017 RoastMasters Tournament, to some “big loud guy” (Dave Kinney): “Dave, it’s impressive you can be so large, and yet so unnoticeable.” Hashem on Mike Recine, who, she reports, has “sent a dick pic to every female comic in the city”: “His pick-up line is ‘can you help me finish this joke?’”

Hashem first tried stand-up at the 2010 New Jersey Comedy Festival. She won first place. Now she’s a regular at the Comedy Cellar and the Stand, clubs which have launched the careers of Aziz Ansari, Jon Stewart, Sarah Silverman, Robin Williams, Chris Rock, Amy Schumer, and Bill Burr, among many many others. 

I was curious about the nitty-gritty details of how a professional writes jokes and builds a comedy career. In our interview, which is edited for clarity and concision, we discussed grimy Jersey comedy clubs, the power of Netflix and social media, and what it’s like to watch a crowd laugh at something you’ve said so many times that you don’t even think it’s funny anymore. 


I have stand-up ambitions myself, so I’m curious about the arc of your career. I read that you got started on a whim in college and you entered a competition while at Rutgers. Is comedy something that you secretly always wanted to do? 

I did not ever want to be a stand-up comedian. It was never on my mind. It really just happened to be that I had a friend in my philosophy program who wanted to do it. I still don’t really remember why I decided I would do it, too. I think about it often. I guess it just sounded fun and I liked this particular person, so I thought it would be fun to do together. So I wrote five minutes of jokes, which I’d never really done before, and we helped each other figure out our sets, and then I did the first round and I did really well, and then I ended up winning. 

I guess what really attracted me to it and kept me doing it was the fact that I could speak to strangers and crowds of people for the first time, which I had never been able to do. I’ve had really bad social anxiety my entire life, and was not used to speaking vulnerably about myself, or anything really. So when I found this vehicle of being able to do that, I got addicted. The real function of it at the beginning was not just to be funny. It was a form of therapy, which I hate saying because I hate when comedians say comedy is therapy. But it really was for me. 

I read that the money you made from that competition was the most money you made in comedy for the next seven years? 

Yeah, for sure. I won a thousand dollars. 

Oh, wow. 

Yeah. I definitely didn’t see any money like that for years after that. 

In the early years after graduating, how did you fit comedy into your life? 

It became my full focus. I mean, I had other jobs. But it was the main thing I was interested in. The Stress Factory is still the main club in New Jersey, and luckily that was right in the middle of Rutgers campus, so that’s where I spent a lot of time. There is an open mic every week that I would go to. And then I made friends with other Jersey comedians and so we would drive around to whatever mics were in other parts of the state. Some of the worst mics I’ve ever done, pretty much. 

How come? 

The environments were so insane. First of all, there were not a lot of women comedians. I distinctly remember being one of the only ones, so I was just constantly around guys who think they’re funny and are not, and also just screaming, and lots of creeps. I always stuck out, which is a good thing, but also—there was a sports bar where we would perform and people would just want us to shut up because they were trying to watch sports.

Do you remember how often you would try and mix in new material at that time? 

I was constantly coming up with new things. In the beginning you’re just flooded with ideas because you’re not really sure yet what your voice is, or what’s funny, or what’s already been done, so you’re throwing everything out there. I definitely had one joke that has survived throughout the beginning until now: that Beatles joke that I told in my first Conan set

The “Help” one?

Yeah. [“What Beatles song would you make love to me to?” “Uh… ‘Help’?”] I definitely would use that. There are some jokes that were solid enough that I knew that I could get a laugh if I needed to. Those jokes are really important at the beginning. 

I haven’t done that many open mics, and I’m also based in Salt Lake. I don’t know if you’ve ever been to Wise Guys, but it’s the main comedy club here. At the open mic night, there’s a bunch of weirdos yelling about Hillary Clinton and just randomly going off. But anyways, I have found that if you don’t start off well with a good joke, then you’re just kind of fucked. Or at least I am. 

Yeah, as you progress you’re more comfortable with digging yourself into a hole if you want to try something new because you do know that you have some things in your back pocket. 

I would assume that jokes at a certain point, since you’ve been doing them for years, are not even funny to you anymore. Is it weird to tell them and then hear the room laugh even when you personally don’t think they’re funny anymore? 

Oh yeah, absolutely. I don’t even know if some of my jokes are funny anymore. I just know that people laugh at them, even though I’m like, “I don’t think I would laugh at this.” There’s such a weird detachment from your material that happens after enough time passes, and the amount of time that passes between thinking one of your jokes is funny and then not being sure why it was funny in the first place becomes shorter and shorter the longer you do it.

Do you feel that it’s hard to try new stuff when you’re in New York? 

The main place I go up these days is the Comedy Cellar, which is not the place you want to be constantly trying new things. So whenever I get booked at any new place is where I try to pepper in new things. 

Do you remember how your “if there’s grass on the field, play ball” joke came about? [“I had to be like, ‘if the grass is too thick to move into, they cancel the game?’”]

That was one of those jokes that just came into my head all perfect and crisp, which happens less and less the longer I do this. I feel like some of my best jokes are often just completely inspired. They come from some sort of comedy muse and they appear in my head. And then the ones where I really need to think about it are generally not my favorite jokes. That was a lucky one. 

I tried out the Judd Apatow MasterClass and he suggested thinking of ideas and writing down maybe 20 jokes for each of them. Does your writing style resemble that in any way, or is there anything interesting that you have found works for you?

I still haven’t figured it out. That Judd thing you just said—that sounds like a pretty good idea. Maybe I’ll try that one out. I don’t know! I want to just rely on my brain delivering me gifts, but like I said, it happens less and less. 

These days, I dig into my past a lot. I think about things that have happened to me or people in my life, and things that were funny at the time about the situation, and I try to think about why they’re funny and then try to come up with a premise-punch format for it. 

For the most part, my jokes are pretty short. I don’t really know how to tell stories. It’s something I should probably work on. If I’m doing a headline set, if I’m doing 45 minutes, it’s basically just an organized-by-theme collection of my jokes where I’m trying to find a logical way that they lead into each other so that I can remember the order. 

What has it meant for you to become more professional in your comedy? 

It’s a lot less fun, mostly. I look back on those earlier years where really all you were concerned about was writing jokes and being with your friends and riding from show to show and just trying to impress each other and impress the best comic in the room. It was a lot more about stand-up in its purity, which is what I liked about it. Then as you try to make it your actual job, and it’s really about money and your career, everything that isn’t just being on stage gets involved. And none of that is fun, worrying about showbiz and marketing yourself and social media now. It becomes a job. 

What’s your next step? 

Everyone’s thinking about their special. The landscape right now is so fucked up… There’s a million different channels and it’s not clear what’s getting views and what isn’t. Right now it seems like Netflix and YouTube are the places that get the highest views. So you can either win the lottery and get paid a bunch to do some sort of Netflix thing, or you can put out your material for free on YouTube. Those seem to be the best options for getting the most amount of eyeballs on your work. And if you can’t get Netflix or you don’t want to put out your material for free, you can try to go to one of the other places, but it’s not clear who’s watching—is that going to help you sell tickets on the road? Because the idea is to put something out that a lot of people see, and then you can tour and make money. 

Right now, I really want to put something out, but I have to decide if I should wait and hope if something like Netflix works out. I haven’t put out anything very long—like you said, just a few minutes here and there—but I have all this stuff I need to dump, you know? Because the longer I hold on to it, the more I’m afraid of dumping it, because then I’ll have to start over again, but in order to continue writing and coming up with things, I think part of that is getting rid of material. It’s at a juncture now, where I’m deciding what to record and where and how to put it out, and when. 

I’ve been reading some of the YouTube comments on your videos, and it seems like everyone just wants more. 

Oh that’s good to hear, I don’t read the comments anymore. 

They mostly just say “wow, she killed it.” And I’m not just saying that, there’s that video of you in the roast where you destroy that guy and people on other videos are like, “oh, is this the person that destroyed that dude?”

Anyways, I think part of what made that roast so awesome is your strong delivery, with a low-key presence on stage. Is that a persona that you are putting on? Or do you feel like that’s basically you? What is the difference between the Dina Hashem we see on stage and the person who just exists in the world? 

The general vibe on stage is definitely a part of me and part of my general way of going about life. But the part that’s not there is me being goofy and more animated, like I am with my friends or my boyfriend. 

That aspect I haven’t brought to the stage. I’m not sure if it makes sense to, or if I want to, because my stage delivery evolved from a real place of being anxious and afraid and shy. Then it gradually became more loose and more me, but still not completely like every facet of how I behave in my life: a dilution of the darker and drier part of me. 

There’s the stereotype that comedians are jealous or mad at other people’s success. Did you have a phase where you related to other comedians in a way that you look back on as misguided?

I think in the years of trying to get to a place of like, “OK, now I feel like a comedian, now I feel like I have enough evidence that I am good and I can continue to do this”—up until then you view it as a contest. You see who’s getting ahead and if you feel like you’re better than them. Then you get sad. 

Nate Bargatze has my favorite line about that on the Pete Holmes podcast, where he would say to his agent “just please don’t make me hate my friends.” You don’t want to get jealous of your friends for getting further—not because you begrudge them their success but because you start looking at yourself like, “Oh my god, what am I doing wrong? I’m going to fall behind. Am I going to be somebody or not?”

I think those feelings are unavoidable. The more comfortable you get with what you’re doing and what work you’re getting, some of that goes away. It’s just fun also to get mad at other comedians. But mostly I think that anger gets transferred to the proper place, which is the people in power, the people making the decisions. Being mad at executives’ decisions—I don’t think that ever goes away. 

What is your view on using social media to promote yourself? It seems like you don’t really like it very much. 

Well, I think it’s poison. If you’re a regular human being, there’s no need to have it. And if I wasn’t doing comedy, then I wouldn’t have it. But it’s become this integral part of trying to reach people. It’s tied up with how it’s easy to complain about the industry, but now there’s this whole other way to promote yourself and find your own audience and make your own living, so you can’t really complain. I mean, you can, but it is this other outlet and way to do it. 

It’s hard to figure out. These algorithms are basically their own sort of executive power. You don’t really know how they work. It’s a mystery. You don’t want to think that you have to keep putting out your work for free either, but that apparently has become a model of building a career. You don’t want to think of yourself as just helping these social media apps profit margins with your own work you’ve put out for free, but it is exposure.

I don’t know. I know I have to do it. There’s comics who do it really well, like my friend Sam Morril has really cracked it and he’s a machine, so it’s hard to copy what he does because he puts out so much material. It’s insane. So you have to do it unless you’re one of these people who just gets chosen by the industry to be a star, and then you don’t have to. But that’s obviously not many people. ▩


Given Social Trends, Automation, and Sex Robots, Are Men Even Necessary?

A Mangoprism investigation

by

Max Ogryzko

Season Categories Published
MP103 Life

Jun 04, 2019


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Since hunter-gatherer societies, many civilizations in human history have had patriarchal systems of power. There are numerous theories as to why patriarchies—rather than matriarchal or more egalitarian alternatives—emerged, but one commonly held belief is that, with the advent of agriculture, men’s physical strength took on additional perceived social value. Men’s ability to handle large animals such as oxen and horses, the theory goes, made them productive farmers – and thus most able to provide sustenance, and eventually, financial support to their families. Women increasingly took on roles in the home and with the children that were never monetized – and thus not understood to be as valuable. Furthermore, as agricultural civilizations sprung up, and wars broke out, men’s strength and ability to fight further compounded their heightened social standing. Warrior-heroes gained respect in their communities; women, more often than not, stayed at home.

Times have changed. Technological development has meant that modern societies rely less and less on physical strength; modern economies, and even wars, for example, depend evermore on an ability to think and use tools. With a surge of educated women taking jobs and social leadership positions, and with the development of new Artificial Intelligence technologies that further reduce the value of human strength, there will be no distinct role that men play in the economy that cannot be done at least equally as well by women. Furthermore, the success of children raised by lesbian couples – as well as the emergence of sex robots, and the increasing potential of artificial sperm—suggest that men may ultimately be replaceable by women in every aspect of society in the future.

Women have always found a way to join the traditionally-conceived “workforce,” but have been mostly restricted to low-paying work associated with feminine skills, such as domestic work, and jobs in textile and clothing industries. Until the Women’s Rights Movement of the 19th and 20th centuries, the percentage of women in the workforce remained low. However, according to the Bureau of Labor Statistics, the last 100 years have seen a dramatic trend: while in 1950 there were 18.4 million women in the labor force, accounting for 33 percent of the total labor of the United States, by 2000 the number had exploded to 66.3 million – 46.5 percent. These numbers are projected to continue to increase, with a predicted 77.2 million, and 47.2 percent, by 2024.

Although women are still frequently employed in “feminine,” or caregiver-type roles—women currently make up 91 percent of all registered nurses, 82 percent of elementary and middle school teachers, and 81 percent of all social workers – studies show that there is “no evidence” that men are better than women in science and technology roles. And despite historic exclusion from STEM fields, women’s representation is on the rise: whereas women made up 23 percent of all workers in science and technology fields in 1993, by 2010 the number increased to 28 percent, and in the same time-frame women’s representation in mathematics and computer science roles doubled.

Even if women’s emergence in jobs typically held by men does not even out across the board, it is likely that it will not matter much in the future. If we look at the jobs most dominated by women, we see that they tend to involve people and social interaction (i.e. teacher, social worker), whereas jobs dominated by men frequently entail manual labor or operating machinery (i.e. construction worker, truck driver)—jobs that modern artificial intelligence technologies such as self-driving cars, trucks, autonomous construction equipment and robots threaten to replace. It requires much more advanced Artificial Intelligence to replicate social interaction than to automate machinery. Moreover, men have been shown to be reluctant to take positions typically held by women, while women’s burgeoning presence in STEM suggests that they don’t tend to share the same biases.

In our world today, despite the recent ascendancy of women in the United States political system, men still dominate positions of power. But there is also compelling evidence that women do just as well, if not better, in leadership positions than men. A paper written by researchers from Northwestern University and Wellesley College concluded that, although women have both advantages and disadvantages in typical leadership style, most, if not all, disadvantages come when women are in a highly masculine organizational context. The paper goes on to show that women tend to have a more democratic (or participative), and a less autocratic (or directive) style of leadership than do men. Although the effectiveness of a leader’s behavior depends on contextual variables such as the nature of the task and the characteristics of their followers, contemporary views of good leadership “encourage teamwork and collaboration and emphasize the ability to empower, support, and engage workers”—all traits that are typically exemplified by women in leadership positions.

Finally, men of the past were lauded for their ability to fight and their bravery in combat. However, modern war has changed this dynamic significantly; as history has progressed, combat has become less a measure of physical strength and more an ability to use tools and enact strategy. Although the use of drones has been highly controversial, it is possible that emerging drone technologies, including autonomous drones, will separate humans from combat even further. More importantly, it is possible that a future led by women may involve less military conflict in general. Whereas men’s leadership is frequently labeled as “command and control, involving assertion of authority and the accumulation of power,” women’s leadership is often described as “interactive, involving collaboration and empowerment of employees.” If collaboration rather than accumulation of power is emphasized on a global scale, disruptions in global peace may become less frequent, reducing the role and prevalence of war in society.

All of these trends bode well for a more equitable future of gender relations, because it is apparent that soon there will be nothing that gives men more value in society than women. However, women will still retain the ability to bear our society’s children, and will still be able to raise them well. Although it would be possible to argue that men could raise children just as well as women, it would be difficult to argue that men would do a better job. So what value then do men bring to the table of our society in the future that women can’t? Would it be possible for men to be, in fact, completely replaceable?

The first and most obvious answer to this question is that men are still irreplaceable because of their ability to create sperm, and that without men humanity would not be able to continue. However, significant research is currently being done to create sperm cells from male and female stem cells. This research aims to give infertile couples, whether heterosexual or queer, the ability to have children without using another person’s DNA, and provide insights as to why infertility occurs. Therefore, there is significant reason to continue this research. Although artificial human sperm has not been created yet, scientists in China were able to create sperm from stem cells in mice and then fertilize several mice eggs with those cells, successfully creating a handful of healthy mice. Significant research must be done before artificial sperm is used in humans, and further research must be done before we can confirm that two women could reproduce this way, but let us say for the sake of argument that this research does prove fruitful.

Although less vital than sperm creation, when some argue against the legality of gay marriage or the ability of gay couples to parent, they argue that all children must have both a mother and a father in order for them to be raised successfully. This assertion has been widely disputed and consistently found to be false. For example, a comprehensive study published in the Medical Journal of Australia took results from over 119 separate studies including those done by the 2017 public policy research portal at Columbia Law School, a 2014 American Sociological Association review, and a 2013 review done by the Australian Institute of Family Studies, and concluded that children raised in same sex households consistently did as well emotionally, socially, and academically as their peers. If same sex couples raise children just as well as heterosexual couples do, one can conclude that two women can raise a child just as well as a man and a woman, or two men. It appears, then, that men are not necessary for raising children, either.

Some might argue that a heterosexual woman with a child would want a male lover with whom to raise her child. Is there some sort of bond that two people in love have that influences the rearing of a child that could not be replicated by multiple women in a community? Consider children raised in the communal living situations of a Kibbutz in Israel, wherein the general community has a larger role in raising a child than the parents. In a paper titled Family and Communally Raised (Kibbutz) Children 20 Years Later: Biographical Data, scholars looked at the education, work history, place of residence, marital status, response to personal loss, and level of psychological problems in 92 children raised in a communal living situation, and 72 children raised by their parents. They conclude that children raised in Kibbutz communal living situations “show a great deal of similarity in their overall functioning” as compared to children raised by their parents. They also conclude that any differences that were found from research can be attributed to “differences in institutional policies and norms in the two communities which socialized the two groups.” The study’s findings, then, counter the idea that two people in a romantic relationship are necessary to raise a child.

However, in a hypothetical world where men are not necessary, there will still be many heterosexual women who do not want to engage in lesbian relationships, but still want to have children, or a romantic partner who is male. Being attracted to men, heterosexual women may still desire men to be around as their companions, and so, for this reason men may still be necessary in society. But will that indeed be the case? Consider the theories of Abraham Maslow, a psychologist whose theories on human needs are still popular in the field of sociology. In A Theory of Human Motivation, Maslow theorized a hierarchy of human needs; from the most basic, such as food and shelter, to what he calls “self-actualization” – the ability for one to realize their full potential. Maslow’s findings never specifically mention the need for a lover or life companion. Rather, in the third level of Maslow’s pyramid of needs, called the “love needs,” he states that one will “feel keenly, as never before, the absence of friends, or a sweetheart, or a wife, or children,” implying that the human need of love does not necessarily have to be fulfilled by all four.

If we think about what humans look for in romantic partners, several things come to mind, such as emotional companionship, sex, child-rearing abilities, and love. Emotional companionship can be understood as the ability for one to share deeply with another, feel vulnerable, give and receive emotional support. There are many similarities between intimate friendships and intimate sexual relationships—emotional companionship being one of them. As Maslow remarks, “love is not synonymous with sex,” e.g. intimate relationships do not have to be sexual. It is possible then, that women in the future could derive the same emotional companionship from intimate friendships as they currently do through romantic relationships.

However, sex is a well-documented need for most humans, and it cannot be replaced by friendship, especially the friendship of women if one is heterosexual. Modern sexual technology is limited to sex toys such as dildos and vibrators, and it would be hard to argue that these adequately replace men sexually (at least men can hope), but this is, again, where future Artificial Intelligence comes in. Although modern sex robots and virtual reality are not, at present, sufficiently advanced to fully capture a completely human sexual experience, if human movement and feel is replicated well enough by a robot or virtual human in the future, there is no reason to say that sexbots or VR could not replicate a human sexual encounter, and replace the need for sex with human men in general. In Robot Sex, authors Neil McArthur and John Danaher take it “as a premise” that sex robots of the future will “offer people a realistic and intensely satisfying sexual experience, one that approximates at least in many ways sex with a human partner.” Although we cannot know for certain what the future of sex technology will hold, it is fair to assume that future sex technology will reach this level, and that we can take this notion as a premise as well.

Heightened criticism of the gender binary—and the social roles it has historically delimited in patriarchal society— undermines the credibility of any effort to ascribe an essential quality to one gender over another. But the trends detailed above illustrate the possible obsolescence of not just the male, but rather masculinity itself, which should adapt to reflect these new social and technological developments or risk perishing for good. In the job market, many of the positions where women remain at a disadvantage are being threatened by artificial intelligence. This is all happening while men are reluctant to adapt to a changing society and take roles stereotypically held by women. We are also seeing a surge in women either running for leadership positions or already performing successfully in them, another trend that is expected to continue. It seems that women are quickly taking traditionally male roles, while continuing to lock down their own, and that developing technologies around sperm creation and sex robots could eliminate even the primal necessity of the male: in short, it seems that man, or at least manhood as we know it, could eventually become completely unnecessary. The future very well may be female. ▩



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Trump, You Can’t Just Say That About Someone!

by

Max Ogryzko

Season Categories Published
MP00 Life

Jul 14, 2017


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In the beginning of the semester, when I was still getting acquainted to the election and its candidates, when I still considered Donald Trump to be a novelty rather than a menace, I was bored and found a YouTube clip titled something like, “Best Trump Moments of his Campaign!” It was around 20 minutes in length, and I ended up watching the whole thing – not because I was actually that bored, but because I was entertained. I thought it was hilarious, and started laughing out loud at several points. Afterwards, however, I was a little taken aback. The things Trump said were at the very least controversial, and for the most part blatantly offensive. Not only that, but he said these things at rallies, debates, talk shows – spaces where humor, or laughter even, is not typically present. So why was I laughing? The things that he said were so ridiculous, so out of character for these events, that my response was laughter rather than outrage. It was funny.

According to Joshua Gunn in his essay titled On Speech and Public Release, this makes perfect sense. Gunn uses the example of the deli scene from the movie When Harry Met Sally to show that a breach in what he calls the “public/private distinction” can be funny. Sally screams orgasmically, an obviously private expression, but does it in a public New York deli. Gunn describes this as a type of “threshold crossing.” Once the threshold is crossed, the response of the audience, in this case, is laughter.

Gunn also remarks that currently our understanding of the public/private distinction seems to be “rapidly transforming and continually under assault”; that it “is ceaselessly asserted anew at and in different locations and context.” Based on Gunn’s ideas, it seems that Donald Trump has made its newest location the election of the President of the United States. However, this isn’t actually new. Presidential candidate Howard Dean broke the public/private threshold in his infamous “I Have a Scream Speech” in 2004. The difference here is that Dean’s career immediately ended due to him crossing this threshold, whereas Trump is currently the President of the United States. So why is this the case?

Stand up comedy is a medium in which Gunn’s public/private threshold is crossed quite frequently. Typically a person standing on a stage with a microphone will speak in a professional manner. Maybe they are a professor or a visiting lecturer, a politician or the principal of your high school, but in any case, they will most likely not get up on stage and talk about a sexual encounter with four other participants, as Amy Schumer does in the “Just for Laughs” festival in Montreal, or how their friend tried to race the police while highly intoxicated, as Dave Chappelle does in his comedy show “Killing Them Softly.”

http://www.youtube.com/watch?v=JJ3dk6KAvQM

This specific area of public/private crossing doesn’t just allow some flexibility in the rhetoric and speech topics of the comedian, but if done correctly can allow for extremely racist or sexist language to not only be accepted, but be egged on and met with laughter. Immediately after entering the stage at his “Live at Beacon Theater” show, Louis CK tells the audience to turn off their cell phones, not to take pictures, and also “No Jews… Jews aren’t allowed. If you’re Jewish, this is a good time to go. If you see someone kinda Jew-y lookin’, tell an usher and they will [escort them out].” Comedian Dave Chappelle, remarking on R. Kelly’s alleged urolagnia, says “you guys are confusing the issue. While you guys are busy worrying about whether R. Kelly even peed on this girl or not, you’re not asking yourself the real question, that America needs to decide once and for all, and that question is: how old is 15 really?” These comments, in context, were of course met with rapturous laughter from their respective audiences.

http://www.youtube.com/watch?v=Iod2tfiL_ZM

In the first Republican Presidential primary debate, when asked to explain himself for calling women fat pigs, dogs, and slobs, Donald Trump retorts, “only Rosie O’Donnell.” The insult is welcomed with laughs and applause from the audience that attended the debate, a response that eerily resembles that of an audience at a comedy club. Even the host of the debate, Megyn Kelly, cannot help but hold back a smile. Similarly, in the second Presidential debate, after Hillary Clinton remarked that “it’s just awfully good that someone with the temperament of Donald Trump is not in charge of the law in our country,” Trump immediately responded, “because you’d be in jail,” a comment that received a similar reaction from an audience that had pledged to stay silent. Even Bill Burr, a professional stand up comedian, has said in his podcast that Trump has “great one liners” and that he is “hilarious – he kills.”

Donald Trump has said many controversial and highly offensive things while running for the highest office in the United States, and yet has gotten relatively little flak for them. This is certainly partly due to the fact that many of his constituents agree with his rhetoric and values. However, another reason may be that his rhetoric is so unpolitically correct, so ineloquent, and so absolutely ridiculous in nature, that he crosses the public/private threshold that Gunn describes in a way that allows many of his voters to brush off his comments just as they would if a comedian in a comedy club had said them; that rhetorically, Donald Trump presents himself not as a politician, but more as a stand up comedian.

In response to being asked about Rosie O’Donnell making fun of him on “Late Night with David Letterman,” Trump says, “I’ve known Rosie for a long time, you know – I’ve always felt that she’s a degenerate…” A comment to which Letterman laughs and then replies “Wait a minute. You can’t say that. You can’t just say she’s a degenerate.”

Yes he can.