How is it possible that a man with tight pants and a piano can be so applause as he jumps off

a Steinway & Sons piano-top to express truly that his job is already done. He no longer has to
perform because “I’ve sold my tickets; my job is done.” So, “Fuck you all.”
Such dirty language… accompanied by a sixty-piece Symphony Orchestra? who are
referred to as “those idiots under my direct control – and who the hell am I?”
This phraseology, is of course, met with raucous and passionate applause from the
audience who are very eager to hear more disappointing facts, be insulted, and have their
faith in life and God utterly ridiculed.
The whole performance, a mirror of reality, is accompanied by sweet melodies and jazz
tunes, with lighting, and beer, and it is the best three hours of my life – far exceeding even
mine own birth. Understanding this phenomenon requires an in depth analysis of both music
– especially the way it is organised as a symphony featuring a pianistic singer.
And comedy, especially laughter – what is it and why do we find certain absurd things
so gosh darn hilarious?
This paper will discuss Tim Minchin vs. the Adelaide Symphony Orchestra through two
lenses: Comedy and music, how they relate to story-telling. First, I will construct a historical
account of language and how it relates to song and dance. I will also describe the function,
reason and historic reasons for laughter and comedy.
Secondly, I will contextualise this to Tim Minchin’s subjective experience, describing
how the foundation of musical comedy set the stage for the Rock’n’Roll Nerd to reinvent it;
and how Minchin uses the medium of stand-up comedy/live music to project real messages
and critiques about the world with the intent of making it a bit of a better place.

Music and performance are essentially connected. Sound has been the central form of
communication between humans since at least dawn of the homo erectus. Grunts of colourful
quality are recognised as positive, “I found food!” or “Our child born!” Likewise those of
vitriolic spite are recognised as malicious. Screams of pain are certainly that; mirthful
giggling is safe whilst loud shrieking indicates danger. Yet the denotations of expression can
be interpreted incorrectly for hysterical screaming and hysterical crying do sound
disturbingly similar. Such a sound is fantastically used in ambiguous horror sequences, the
dissonance confuses listeners allowing their focus to prime for concentration for clarification
is unlikely.
Society can only function with effective communication between individuals to
facilitate norms and proper etiquette, social practice and coordination for the division of
labour necessary for agriculture or business. Communication is easiest if there is a certain
language that is consistent throughout generations, so younglings may adopt proper
vocabulary, vernacular, mannerisms and conduct. Consistency has been kept, so gestures and
vocal exchanges can be practically understood. Each generation will colloquialise new words,
bastardising them into other meanings, from this can spawn puns and new forms of word-
play, often losing the original meaning in the process.
Thersites in Troilus and Cressida :
“But yet you look not well upon him; for, where whomsoever you take him to be, he is
Ajax.”
Supposedly, Ajax – pronounced not ‘jacks’ but ‘jakes’ – and a jake is a -that satisfied
feeling one feels after exiting the lavatory after a fine lunch. That line would then be funny in
a way we, as non-17th century Englishmen do not tend to realise. Thankfully we have AJAX:
Spray and Wipe to make a joke out of instead.

Songs tend to have always been stories, told in rhythmic or rhyme patterns, for that story to
remain in the memory of the hearers. Morals and meaning are often imbued into these songs,
and it is from these morals and meanings that we learn our earliest life lessons. This is why
nursery rhymes are so effective. Yet, naturally, many of the original versions have changed
through diversification or translation of language.
The magic of storytelling, is, wicked smart however. (Wicked meaning: malicious or
impressive is up to the reader.) Despite these translations – the moral remains. This is perhaps
why religious texts such as the Bible remain deeply influential and effective despite being
written in a dusty tent 2,000 years hence by some gents in the language of Hebrew. The
messages are what matter, not the precise words. This is why melodies have become so
effective, and the concept of the chorus (or theme) so crucial: they repeat. Because they
repeat, we can remember them.
Human brains are possibly the most complex objects in the universe. Memory, as far
as lays can explain it, is separated into different sections categorised by sense and
significance. To recall a scenario, audio will have to be thought of, picture, colour, touch,
feeling, mood, et cetera. All these things must be organised into a coherent memory (which is
slightly corrupted upon recall). Therefore, it is easier to remember messages in more than one
method: Melody and vocabulary are often accompanied by movement.
Sound is not the only form of communication that humans utilise. Body language, facial
expression and other physical aspects are also as important. Often, body and vocal language
contradict, when this occurs we know something is not quite as it should be. How we can tell
somebody is telling a porky pie.

Cultures of long ago have had the genius to combine these communicative elements
into song and dance routines. Generally speaking, across the greater part of human culture on
planet Earth, song and dance has been combined to depict a more engaging and memorable
story. From the Cherokee first nations American War Dance and the Haka from (modern day)
New Zealand’s Māori culture to the traditional Japanese Nihon Buyō performances. This has
not faltered as time has passed, but progressed to new great heights: operas, musicals, and
musical comedy.

First, a note on comedy.

Comedy is a profound thing. What is laughter? Laughter is the release of tension caused by
relief. Relief that… whatever misery is occurring is not happening to you, relief that – my
goodness that was offensive, thank goodness nobody who would have gotten upset by that
comment was not here. OR they are here – what are they going to do? Whatever happens, it
will not happen to me.
This latter point, can be pushed to absolute extremes. What if – the slander, reveals
significant information about an aspect of society, that normally people shrug off or refute?
What if, I, revealed the inner workings of a government – by writing a song called “the
government totally sucks” and masquerade it as nonsense comedy – but really – I’m telling
you all the truth. You, upon hearing the truth, are not sure how comfortable you feel about it,
but, it is unlikely that because I told the joke – you would be persecuted. So you laugh, and
while you laugh… you think and realise that my jokes ring scarily true.

Just as Star Wars is the compilation of Samurai, Western, Science Fiction, ‘the Chosen One’,
and many other forms of story-telling. Just so is Tim Minchin a compilation and reshaping of
an entire canon of musicians and comedians that have come before.
The most obviously direct influence on Minchin’s style, did similar routines but with
clean and mostly inoffensive humour. Minchin, juxtaposed, attempts to be seen as unique, not
“by convincing the viewer that musical satire, hasn’t progressed since Victor Borge.”
Minchin’s style of comedy is shocking, discomforting and acutely offensive,
especially to peoples religious sensitivities.
Shock humour – or confronting humour likely to make audiences consider carefully
the words uttered – has been very particularly used by Minchin.
As an article from The Advertiser newspaper from February 17, 2012 describes Tim Minchin
as “the impish love child of Animal, the Muppet, and Bill Nighy, brought up on a diet of Carl
Sagan and Christopher Hitchens, and Ben Folds Five and Monty Python. If you're unfamiliar
with this Perth-boy-gone-global, familiarise yourself now.”

Satire, philosophy, deconstruction, political & social & religious commentary and
ridicule have been combined with music many times in the past. As The Guardian points out
“It’s not a novelty anymore, it’s an art form, a calling even, with its own
superstars – Tim Minchin, Bo Burnham, Flight of the Conchords – and sassy
newer acts (Frisky and Mannish, say) with countercultural cachet. None of
those acts are above being silly, Weird Al-style, but it’s not all they do.”
It is correct to say that all these acts and even including other acts by many of
Minchin’s contemporaries including Ricky Gervais, Frankie Boyle, Jimmy Carr, Noel
Fielding, Russel Brand… (et cetera). It is their silliness which makes their acts so serious.
There is an idea that exists within Carl Jung’s work, extending out to other significant
sociological, philosophic or psychologic thinkers, that is ‘The Fool is the precursor to the
Saviour.’
Nobody takes the fool seriously, whatever they say will be absurd. Yet, since nobody
takes them seriously, they can say things without fear of persecution. The most important
thing to note are the four words. “They can say things.”
We laugh at the absurdity of the comedy, then realise on the way home – how
dangerously close to the truth their funny words are saying.
There is a character in George R.R. Martin’s A Song of Ice and Fire series. A jester
named Patch-face who has motley colours tattooed into his skin. Drowned in a shipwreck, he
emerges three days later and

Tim Minchin, directly, had a multitude of inspirations.

Victor Borge took pianocentric comedy to unprecedented levels of hilarity. Remarkably, he

did this with clean humour and inoffensive elegance. His style and flair, were extremely
engaging – leading to sell out shows.

Weird Al Yancovich, Tom Lehrer, Reggie Watts, Gilbert And Sullivan, Webber, Sontheim.

Tim Minchin Vs. The Adelaide Symphony Orchestra.

Many of Minchin’s songs are not simply funny or clever but have some kind of ethic or
moral intertwined in their lyrics. Many of these are religious.

“Fuck the mother fucker,” referring to the Pope, who, was accused of allowing priests to
fondle children.
“Peace anthem for Palestine.”

He has developed a kind of reputation for anti-religious comedy and uses this expectation to
more fully accentuate his message.

Being in the position he is in, Minchin is able to criticise everything, from “Nothing ruining
comedy like arenas.”

Due to people having seen similar forms of offensive, musical comedy, it is easier for Tim to
break
through and do that. Order and Chaos.
COMEDY IS THE OPPORTUNITY FOR US TO STEP OUTSIDE OF THE ORDINARY,
INTO THE CHAOTIC WHERE WE MAY EXPLORE AND INTEGRATE OUR
SHADOWS.