I hope there's some Ride of the Valkyries thrown in the playlist...
Kill de wa-bit
Kill de wa-bit
Kill de WAAA-bit
Kill de wabbit

Gotta love Wagner

*Warning I've only gone and done yet another wall of text again! This may or may not get read by anyone on here (good god I wouldn't blame anyone for skipping it), but at the very least it's formed the backbone to a video script so it's not a complete waste of my time! (he tells himself)*

This is as much @bareboards2 as yourself, but he already made it clear he wasn't willing to engage on the issue, so you're getting it instead MWAHAHAHHAHA! *coughs*

I don't wish this to come across as over condescending (though I'm sure it will none the less as I'm in one of those moods). But pretty much every (successful) comedy premise operates on the same underlying principle of irony. i.e. there is an expectation or understanding, which is deliberately subverted, and what results is comedy.

In this case, amongst other things we have the understood premises that:
A. rape is a bad, often horrific thing.
B. that there is an established social taboo about praising such behaviour.
C. that there is a section of society inherently opposed to making light of things of which they do not approve (or in a way in which they do not approve)
D. most words and phrases have an expected association and meaning.

What Jim Jefferies (an accomplished and well respected comedies amongst his peers) has done here, is take these commonly understood premises and subverted the audiences normal expectations in order to evoke a sense of irony, from which the audience derives humour and amusement.

A simple joke might take a single such premise and perform a single inversion of our expectation. e.g. my dog has no nose, how does he smell?....terrible!

By subverting our assumed meaning (that the missing nose refers to the dogs implied lack of olfactory senses), the joke creates basic irony by substituting this expected meaning for that of the odour of the dog itself.

This is of course a terrible joke, because it is as simple as a joke could be. It has only one layer of irony and lacks any sense of novelty which, might tip such a terrible joke into working for any other than the very young or simple minded.

We could of course attempt to boost this joke by adding more levels of irony contextually. e.g. a very serious or complex comedian Like say Stuart Lee, could perhaps deliver this joke in a routine and get a laugh by being completely incongruous with his style and past material.

And herein we see the building blocks from which any sophisticated professional comedy routine is built. By layering several different strands or ironic subversion, a good comedian can begin to make a routine more complex and often more than just the sum of its parts to boot.

In this case, Jim is taking the four main premises listed above, layering them and trying to find the sweetest spot of subverted expectation for each. (something which usually takes a great deal of skill and experience at this level)

He mentions the fact that his jokes incite outrage in a certain section of society because this helps to strengthen one of the strands of irony with which he is playing. The fact that he also does so in a boastful tone is itself a subversion, it is understood by the audience that he does not/should not be proud of being merely offensive and as such we have yet another strand of irony thrown into the mix.

You know how better music tends to have more and/or more complex musical things happening at once? It is the same with comedy. The more ironic threads a comedian can juggle around coherently, the more sophisticated and adept their routines could be considered to be.

Naturally as with music there's no accounting for taste as you say. Some people simply can't get past a style or associations of a given musician or song (or painting or whatever).

But dammit Jim is really one of the greats right now. Like him or lump him, the dude is pretty (deceptively) masterful at his craft.

There are at least 4-5 major threads of irony built into this bit and countless other smaller ones besides. He dances around and weaves between them like some sort of comedy ballerina. Every beat has been finely tuned over months of gig's (and years of previous material) to strike the strongest harmonies between these strands and probe for the strongest sense of dissonance in the audience. Not to mention, tone of voice, stance, timing etc.

I think Ahmed is basically terrible too, but it is because the jokes lack much semblance of complexity or nuance. Jeff Dunham's material in general feels extremely simple and seems like it uses shock as a mere crutch, rather than something deeper and more intelligent.

Taste is taste, but I feel one can to a reasonable extent criticise things like the films of Michael Bay, or the music of Justin Beiber for being objectively shallow by breaking down their material into its constituent parts (or lack thereof).

Likewise one could take the music of Wagner and while not enjoying the sound of it, still examine the complexity of it's composition and the clear superiority of skill Wagner had over most of this peers.

I guess what all this boils down to is, Jim seems to me to be clearly very very good at what he does (as he ought after all these years). Reducing his act to mere controversy feels a lot like accusing Black Sabbath of just making noise and using satanic imagery to get attention (or insert other less out of date example here).

The jokes were never at the expense of victims, they are at the expense of our expectations. He makes his own true feelings on the matter abundantly clear towards the end of the section.

As as he says himself his job is to say funny things, not to be a social activist.

I take no issue with you not liking it, but I do take issue with the suggestion that it is somehow two dimensional, or for that matter using controversy cheaply.

Offensive initial premises are some of the most ironically rich in comedy. It's like deliberately choosing the brightest paints when trying to create a striking painting. Why would you avoid the strongest materials because some people (not in your audience) find the contrast too striking?

Eh, much love anyway. This was more an exercise in intellectual masturbation than anything else. Not that I didn't mean all of it sincerely.

You had me at Iron Man.
The contrabass was awesome, but I was really expecting some Wagner. I mean, come on.

They might have enjoyed that bit of Wagner.

Now that I have had a chance to compare the Arrows F1 vid to the other ones from 2012 (and it does say at the start that the one I posted is from 2012... oops) there are other 2001 Arrows A22 out there, I found one of several owned by the Woodcock Brothers and driven by Michael Woodcock at Monza (http://youtu.be/VVBuTMCpIeE). It does have different liverie to this one though, with Woodcock on the side. They did once manage to get two cars going and had two Woodcock brothers in a Boss event at Hockenheim.

Even better though, I found another vid of this car at Zolder, and the info on that vid says:

model: Arrows A22
production year: 2001
driver: Arnold Wagner (GER)
engine: Asiatech 3.0l V10
chassis: A22 - 07
track: Circuit Zolder
date: 2012-08-16

Pictures
http://belgian-motorsport.com/

It doesn't say, but you can tell from the helmet that it's Arnold Wagner of Germany. The video is from 2012, and there are some other vids from around the same time.

Rennwerk GMBH use this car as a mule for their tyre temperature sensor testing, and have pictures of it all over their web site, and some other videos.

(Grand Prix of Germany - 1939)

Again hundreds of thousands converged on the Nürburgring to witness the struggle for the first Grand Prix of Greater Germany.

Seventeen racing cars stand at the race's start: Mercedes Benz, Auto Union, Alfa Romeo, Maserati und Delahaye.
The proud airship «Graf Zeppelin» with its 4 Mercedes Benz motors came to visit, too.
The field is already entering the southern bend - the battle has begun.

From a bird's eye view the racing race cars look like kid's toys.
But for the drivers 500km on the hardest racetrack of the world is all but child's play.
More than a thousand times they have to de-clutch, shift, brake.
The tiniest of mistakes endangers life and victory.
Bend joins bend; sharp inclines and abrupt falls alternate.
The machines' strain is enormous.
The machines have to provide over 7000 revs.
And all that for close to four hours - a grim ordeal for car and driver.

Breakdowns are numerous.
Caracciola, who seized the lead in lap 13, bears the great Mercedes Benz community's hopes.

Scattered showers made the track dangerously slippery, but calm and confident, the experienced master Caracciola guides his car towards the finish line.
Excitedly, chief engineers Wagner and Heeß, the designers of the Mercedes Benz racing cars, watch the contest's thrilling final stage.
The last round: Celebrated by the spectators Caracciola crosses the finish line.

Perfect music...I love Wagner

What Work Is

We stand in the rain in a long line
waiting at Ford Highland Park. For work.
You know what work is--if you're
old enough to read this you know what
work is, although you may not do it.
Forget you. This is about waiting,
shifting from one foot to another.
Feeling the light rain falling like mist
into your hair, blurring your vision
until you think you see your own brother
ahead of you, maybe ten places.
You rub your glasses with your fingers,
and of course it's someone else's brother,
narrower across the shoulders than
yours but with the same sad slouch, the grin
that does not hide the stubbornness,
the sad refusal to give in to
rain, to the hours wasted waiting,
to the knowledge that somewhere ahead
a man is waiting who will say, "No,
we're not hiring today," for any
reason he wants. You love your brother,
now suddenly you can hardly stand
the love flooding you for your brother,
who's not beside you or behind or
ahead because he's home trying to
sleep off a miserable night shift
at Cadillac so he can get up
before noon to study his German.
Works eight hours a night so he can sing
Wagner, the opera you hate most,
the worst music ever invented.
How long has it been since you told him
you loved him, held his wide shoulders,
opened your eyes wide and said those words,
and maybe kissed his cheek? You've never
done something so simple, so obvious,
not because you're too young or too dumb,
not because you're jealous or even mean
or incapable of crying in
the presence of another man, no,
just because you don't know what work is.

Philip Levine

Craig Ferguson Interviews Stephen Fry - Wagner Facts has been added as a related post - related requested by bareboards2.

*related=http://videosift.com/video/Craig-Ferguson-Interviews-Stephen-Fry-Wagner-Facts-1


Here you go. It is fascinating.

Also, the first and last couple of minutes of the entire interview are classic Craig Ferguson. Tells the audience to go to bed if they are offended by challenging material.

I love Craig.

I like the bit about Wagner after the TubeChop.

He does a good impression of Wagner...

I'm very happy you liked it. I almost deleted that post because I was afraid the whole thing was too pompous. But I figured, ultimately, who could argue with the sentiment..."Garfield" really was a horrible film.


In reply to this comment by ChaosEngine:
In reply to this comment by TheFreak:
Put a thousand fruit flies in a box and you can watch the entire circle of life, played out in multiple generations, in a matter of days.
Now, stand back far enough to view the entirety of human existence in one box and the objective eye will discern no greater purpose than the fruit fly. We live, we reproduce, we die. All of human evolution and technical advancement bent to the simple purpose of continuing to exist.

We are ultimately seperated from the fruit fly by one thing; a simple question,
"Why?"

The contemplation of our own mortality is undoubtedly the single factor that has inspired us to become more than the sum of our individual lives. The yearning to outlive ourselves, to defy the inherent pointlessness of existence, to deny the emptiness of the void that precedes us and remains, undisturbed, after we're gone. The human defiance of the finity and futility of life drives the greatest achievements of our species.

Humanity, alone among the animals of the earth, has taken the gifts of evolution and harnessed them to scream its answer to the empty cosmos with soul wrenching achievements of art and philosophy. Those creations of mankind that we experience as a feeling, rising up from inside us and overwhelming our minds with a beauty and perfection far greater than ourselves.

The great accomplishments of mankind that elevate the purpose of our existence:
The philosophy of Aristotle
The architecture of Angkor Wat and St. Peter's Basilica
The art and discovery of Leonardo Da Vinci
The grandeur of the Sistine Chapel and the humble beauty of Van Gogh
The feets of engineering; the great wall of china and Apollo moon landing
All the great works of the most inspired among us, who could encapsulate beauty, wonder, humor and tragedy into discrete works of brilliance:

Shakespeare, Sophocles, Mark Twain, Hemingway, Kepler, Gödel, Newton, Hippocrates, Bach, Wagner, Coltrane, Hume, Kant, Descartes, Tesla, Gutenberg, Frank Lloyd Wright...
...and Bill Murray.

Except for his work on Garfield.
That movie was fucking horrible.


My life is better for having read that comment.

In reply to this comment by TheFreak:
Put a thousand fruit flies in a box and you can watch the entire circle of life, played out in multiple generations, in a matter of days.
Now, stand back far enough to view the entirety of human existence in one box and the objective eye will discern no greater purpose than the fruit fly. We live, we reproduce, we die. All of human evolution and technical advancement bent to the simple purpose of continuing to exist.

We are ultimately seperated from the fruit fly by one thing; a simple question,
"Why?"

The contemplation of our own mortality is undoubtedly the single factor that has inspired us to become more than the sum of our individual lives. The yearning to outlive ourselves, to defy the inherent pointlessness of existence, to deny the emptiness of the void that precedes us and remains, undisturbed, after we're gone. The human defiance of the finity and futility of life drives the greatest achievements of our species.

Humanity, alone among the animals of the earth, has taken the gifts of evolution and harnessed them to scream its answer to the empty cosmos with soul wrenching achievements of art and philosophy. Those creations of mankind that we experience as a feeling, rising up from inside us and overwhelming our minds with a beauty and perfection far greater than ourselves.

The great accomplishments of mankind that elevate the purpose of our existence:
The philosophy of Aristotle
The architecture of Angkor Wat and St. Peter's Basilica
The art and discovery of Leonardo Da Vinci
The grandeur of the Sistine Chapel and the humble beauty of Van Gogh
The feets of engineering; the great wall of china and Apollo moon landing
All the great works of the most inspired among us, who could encapsulate beauty, wonder, humor and tragedy into discrete works of brilliance:

Shakespeare, Sophocles, Mark Twain, Hemingway, Kepler, Gödel, Newton, Hippocrates, Bach, Wagner, Coltrane, Hume, Kant, Descartes, Tesla, Gutenberg, Frank Lloyd Wright...
...and Bill Murray.

Except for his work on Garfield.
That movie was fucking horrible.


My life is better for having read that comment.