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Dad Jokes is a docu-special directed by Dan Hartigan and Mo Welch, starring stand-up comedian Mo Welch. Watch Mo as she takes a road trip to small town Illinois while shedding all of her dad jokes and reuniting with her dad for the first time in almost twenty years.

Brian Steadman | This up-and-coming comic has performed all over Atlantic City and will bring a laughter-filled night to the AC Jokes crowd. Brian Steadman will bring his life experiences to the stage in an incredibly unique and funny way. To learn more about Brian Steadman, visit acjokes.com/brian-steadman/

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Zach Pickett | As a staple performer of the AC Jokes family, Zach Pickett combines high-energy, physical, rubber-faced comedy with sharp mental observations. In just 5 years, Zach has worked his way up from open mic comic to a legitimate headline act. To learn more about Zach Pickett, visit acjokes.com/zach-pickert/

Past research reveals preferences for disparaging humor directed toward disliked others. The group-dominance model of humor appreciation introduces the hypothesis that beyond initial outgroup attitudes, social dominance motives predict favorable reactions toward jokes targeting low-status outgroups through a subtle hierarchy-enhancing legitimizing myth: cavalier humor beliefs (CHB). CHB characterizes a lighthearted, less serious, uncritical, and nonchalant approach toward humor that dismisses potential harm to others. As expected, CHB incorporates both positive (affiliative) and negative (aggressive) humor functions that together mask biases, correlating positively with prejudices and prejudice-correlates (including social dominance orientation [SDO]; Study 1). Across 3 studies in Canada, SDO and CHB predicted favorable reactions toward jokes disparaging Mexicans (low-status outgroup). Neither individual difference predicted neutral (nonintergroup) joke reactions, despite the jokes being equally amusing and more inoffensive overall. In Study 2, joke content targeting Mexicans, Americans (high-status outgroup), and Canadians (high-status ingroup) was systematically controlled. Although Canadians preferred jokes labeled as anti-American overall, an underlying subtle pattern emerged at the individual-difference level: Only those higher in SDO appreciated those jokes labeled as anti-Mexican (reflecting social dominance motives). In all studies, SDO predicted favorable reactions toward low-status outgroup jokes almost entirely through heightened CHB, a subtle yet potent legitimatizing myth that "justifies" expressions of group dominance motives. In Study 3, a pretest-posttest design revealed the implications of this justification process: CHB contributes to trivializing outgroup jokes as inoffensive (harmless), subsequently contributing to postjoke prejudice. The implications for humor in intergroup contexts are considered.

Table 1: There are countless books and articles solely dedicated to compiling examples of dad jokes. This table displays the very first example of a dad joke included in ten different such books or articles. As apparent from this selection, dad jokes are distinguished by being inoffensive puns that only violate the pragmatic norm against ambiguity and nothing else.

Taking dad jokes seriously requires a theory of what makes something funny (or, alternatively, unfunny). At least since the Greeks, scholars have debated this issue, but the most promising line of contemporary research in this area, in my estimation, points towards humour being an evolved response to benign norm violations (McGraw & Warren, 2010; Warren & McGraw, 2016). Dad jokes, in turn, can be defined as puns that only violate a linguistic norm and nothing else (Hye-Knudsen, 2021). Puns typically violate the conversational norm against ambiguity (Aarons, 2017). In normal conversation, we can safely assume that the person we are talking to will only ever say one thing at a time, with their words thus having a clear, singular meaning (Grice, 1975). With a pun, we violate this norm by deliberately saying at least two different things at the same time.

Dads appear to have a characteristic way of playing and joking with their children. Fathers are typically more vigorous and challenging in their play than mothers, pushing their children to the limits of what they can handle (Paquette et al., 2003). In their humour directed towards their children, fathers are similarly more aggressive and teasing (Bokony & Patrick, 2009). Children who are approaching or have begun adolescence appear particularly prone to embarrassment, especially in relation to their parents (Pickhardt, 2013), and dads can exploit this by telling them jokes that are so unfunny that they are embarrassing.

Dad jokes are related to cringe comedy, but they are not a subspecies hereof. The stereotypical scenario of a dad joke involves a dad telling an offensively lame pun to embarrass his children, which he in turn derives amusement from. Like cringe comedies, then, dad jokes are aimed at evoking embarrassment, but the children cringing at the joke are not its ultimate audience. The real audience of a dad joke is in fact the joke-teller, the dad, who suffers no cringe but rather delights in the embarrassment of his offspring.

These jokes are a continually-growing collection, and unfortunately, I canno longer remember which jokes I heard from whom. If you have ever told,emailed, or otherwise communicated to me a music joke, thank you.

A drummer, sick of all the drummer jokes, decides to change his instrument.After some thought, he decides on the accordion. So he goes to the music storeand says to the owner, "I'd like to look at the accordions, please."

If you don't see your favorite musical joke here, check the list of viola jokes. If you don't see your joke thereeither, please email it to jcb@mit.edu. Unless I already have a similar joke on the page,I'll add it. (All jokes appear in the form in which I first heard them.)

Identified as one of the simple forms of oral literature by the Dutch linguist Andr Jolles,[4] jokes are passed along anonymously. They are told in both private and public settings; a single person tells a joke to his friend in the natural flow of conversation, or a set of jokes is told to a group as part of scripted entertainment. Jokes are also passed along in written form or, more recently, through the internet.

Any joke documented from the past has been saved through happenstance rather than design. Jokes do not belong to refined culture, but rather to the entertainment and leisure of all classes. As such, any printed versions were considered ephemera, i.e., temporary documents created for a specific purpose and intended to be thrown away. Many of these early jokes deal with scatological and sexual topics, entertaining to all social classes but not to be valued and saved.

The earliest extant joke book is the Philogelos (Greek for The Laughter-Lover), a collection of 265 jokes written in crude ancient Greek dating to the fourth or fifth century AD.[8][9] The author of the collection is obscure[10] and a number of different authors are attributed to it, including "Hierokles and Philagros the grammatikos", just "Hierokles", or, in the Suda, "Philistion".[11] British classicist Mary Beard states that the Philogelos may have been intended as a jokester's handbook of quips to say on the fly, rather than a book meant to be read straight through.[11] Many of the jokes in this collection are surprisingly familiar, even though the typical protagonists are less recognisable to contemporary readers: the absent-minded professor, the eunuch, and people with hernias or bad breath.[8] The Philogelos even contains a joke similar to Monty Python's "Dead Parrot Sketch".[8]

During the 15th century,[12] the printing revolution spread across Europe following the development of the movable type printing press. This was coupled with the growth of literacy in all social classes. Printers turned out Jestbooks along with Bibles to meet both lowbrow and highbrow interests of the populace. One early anthology of jokes was the Facetiae by the Italian Poggio Bracciolini, first published in 1470. The popularity of this jest book can be measured on the twenty editions of the book documented alone for the 15th century. Another popular form was a collection of jests, jokes and funny situations attributed to a single character in a more connected, narrative form of the picaresque novel. Examples of this are the characters of Rabelais in France, Till Eulenspiegel in Germany, Lazarillo de Tormes in Spain and Master Skelton in England. There is also a jest book ascribed to William Shakespeare, the contents of which appear to both inform and borrow from his plays. All of these early jestbooks corroborate both the rise in the literacy of the European populations and the general quest for leisure activities during the Renaissance in Europe.[12]

The practice of printers using jokes and cartoons as page fillers was also widely used in the broadsides and chapbooks of the 19th century and earlier. With the increase in literacy in the general population and the growth of the printing industry, these publications were the most common forms of printed material between the 16th and 19th centuries throughout Europe and North America. Along with reports of events, executions, ballads and verse, they also contained jokes. Only one of many broadsides archived in the Harvard library is described as "1706. Grinning made easy; or, Funny Dick's unrivalled collection of curious, comical, odd, droll, humorous, witty, whimsical, laughable, and eccentric jests, jokes, bulls, epigrams, &c. With many other descriptions of wit and humour."[13] These cheap publications, ephemera intended for mass distribution, were read alone, read aloud, posted and discarded.

There are many types of joke books in print today; a search on the internet provides a plethora of titles available for purchase. They can be read alone for solitary entertainment, or used to stock up on new jokes to entertain friends. Some people try to find a deeper meaning in jokes, as in "Plato and a Platypus Walk into a Bar... Understanding Philosophy Through Jokes".[14][note 3] However a deeper meaning is not necessary to appreciate their inherent entertainment value.[15] Magazines frequently use jokes and cartoons as filler for the printed page. Reader's Digest closes out many articles with an (unrelated) joke at the bottom of the article. The New Yorker was first published in 1925 with the stated goal of being a "sophisticated humour magazine" and is still known for its cartoons. 2351a5e196