IRONIC HUMOUR: HOW TO LOSE PEOPLE AND ALIENATE CATS

ETYMOLOGY

According to the Encyclopedia Britannica:

The term irony has its roots in the Greek comic character Eiron, a clever underdog who by his wit repeatedly triumphs over the boastful character Alazon. The Socratic irony of the Platonic dialoguesderives from this comic origin.

According to Richard Whately:

Aristotle mentions..Eironeia, which in his time was commonly employed to signify, not according to the modern use of ‘Irony, saying the contrary to what is meant’, but, what later writers usually express by Litotes, i.e. ‘saying less than is meant’.

The word came into English as a figure of speech in the 16th century as similar to the French ironie. It derives from the Latin ironia and ultimately from the Greek εἰρωνεία eirōneía, meaning dissimulation, ignorance purposely affected.

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Irony is a much-misunderstood form of humour. It is somewhat culture-specific, being more prevalent where wordplay is common (notably in the UK, where the pun has been raised to an art form), so many people fail to ‘get’ irony, while others apply the term incorrectly. It is a technique beloved of satirists, and one which is hard to master (there is always the danger of slipping into overt sarcasm which is, as has been observed, the lowest form of wit).

WHAT IS IRONY?

Irony is defined as…

  • The humorous (or mildly sarcastic) use of words to imply something different from, and often opposite to, their literal meaning.
  • An expression marked by a deliberate contrast between apparent and intended meaning, usually to draw attention to some incongruity1 or irrationality.
  • A literary style employing such contrasts for humorous or rhetorical effect.
  • Incongruity between what might be expected and what actually occurs, or an occurrence or circumstance notable for such incongruity.

Dramatic irony is a special case where the irony is understood by the audience but not by the characters in the book or play. Socratic irony2 is the process whereby a questioner feigns ignorance in order to lead another to expose their own ignorance.

These types of irony give the clue to the true definition of an ironic statement. An ironic statement must appear as if you are sincere, there must be no hint of sarcasm, and you must not be self-consciously droll. The line must be delivered straight, so that the recipient misses the hidden message but onlookers get it loud and clear. The saying ‘Irony is wasted on the stupid’ works well as long as the person addressed believes themself to be a sage despite making an absolute ass of themself, and nods wisely in assent.

Thus Fowler’s Modern English Usage defines irony as…

… a form of utterance that postulates a double audience, consisting of one party that hearing shall hear and shall not understand, and another party that, when more is meant than meets the ear, is aware of that more and of the outsider’s incomprehension.

-wikipedia

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VERBAL IRONY VS SARCASM 

A fair amount of confusion has surrounded the issue regarding the relationship between verbal irony and sarcasm.

Fowler’s A Dictionary of Modern English Usage states:

Sarcasm does not necessarily involve irony and irony has often no touch of sarcasm.

This suggests that the two concepts are linked but may be considered separately. The OED entry for sarcasm does not mention irony, but the irony entry reads:

A figure of speech in which the intended meaning is the opposite of that expressed by the words used; usually taking the form of sarcasm or ridicule in which laudatory expressions are used to imply condemnation or contempt.

The Encyclopædia Britannica has “Non-literary irony is often called sarcasm”; while the Webster’s Dictionary entry is:

Sarcasm: 1 : a sharp and often satirical or ironic utterance designed to cut or give pain. 2 a : a mode of satirical wit depending for its effect on bitter, caustic, and often ironic language that is usually directed against an individual.

Partridge in Usage and Abusage would separate the two forms of speech completely:

Irony must not be confused with sarcasm, which is direct: sarcasm means precisely what it says, but in a sharp, caustic, … manner.

Sarah Silverman

The psychologist Martin, in The psychology of humour, is quite clear that irony is where “the literal meaning is opposite to the intended”; and sarcasm is “aggressive humor that pokes fun”. He has the following examples: For irony he uses the statement “What a nice day” when it is raining. For sarcasm, he cites Winston Churchill who, when told by a lady that he was drunk, said “my dear, you are ugly … but tomorrow I shall be sober”, as being sarcastic, while not saying the opposite of what is intended.

Psychology researchers Lee and Katz (1998) have addressed the issue directly. They found that ridicule is an important aspect of sarcasm, but not of verbal irony in general. By this account, sarcasm is a particular kind of personal criticism leveled against a person or group of persons that incorporates verbal irony. For example, a woman reports to her friend that rather than going to a medical doctor to treat her cancer, she has decided to see a spiritual healer instead. In response her friend says sarcastically, “Oh, brilliant, what an ingenious idea, that’s really going to cure you.” The friend could have also replied with any number of ironic expressions that should not be labeled as sarcasm exactly, but still have many shared elements with sarcasm.

Most instances of verbal irony are labeled by research subjects as sarcastic, suggesting that the term sarcasm is more widely used than its technical definition suggests it should be (Bryant & Fox Tree, 2002; Gibbs, 2000). Some psycholinguistic theorists (e.g., Gibbs, 2000) suggest that sarcasm (“Great idea!”, “I hear they do fine work.”), hyperbole (“That’s the best idea I have heard in years!”), understatement (“Sure, what the hell, it’s only cancer…”), rhetorical questions (“What, does your spirit have cancer?”), double entendre (“I’ll bet if you do that, you’ll be communing with spirits in no time…”) and jocularity (“Get them to fix your bad back while you’re at it.”) should all be considered forms of verbal irony. The differences between these tropes can be quite subtle, and relate to typical emotional reactions of listeners, and the rhetorical goals of the speakers. Regardless of the various ways theorists categorize figurative language types, people in conversation are attempting to decode speaker intentions and discourse goals, and are not generally identifying, by name, the kinds of tropes used (Leggitt & Gibbs, 2000).

-wikipedia

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IRONIC HUMOUR EPITOMIZED

–NOT SURPRISING THAT THE NATIONAL POST ( CANADA’S RIGHT-OF-CENTRE SLANTED NATIONAL PERIODICAL) DID NOT UNDERSTAND HUMOUR WHEN IT REPUBLISHED ‘NEWS’ FROM IT  I USE MY HUMOUR AS A FILTER FOR WAVELENGTH ANYWAYS, HEHE– rudhro

If you enjoy absolutely deadpan, straightforward humour without obvious hints of irony, you have hopefully heard of the summer series from CBC Radio One, appropriately titled This Is That. It’s a hilarious send up of the daily news. This Is That, produced by CBC Radio 3’s Chris Kelly, is already infamous for its straightforward, deadpan antics.

The show tells ridiculous news stories, but executed 100% seriously without a drop of parody upon first glance, besides the ludicrous subject matter. In fact, the show’s headlines and stories have been taken seriously numerous times including the National Post picking up a fake story as if it were real.

Each “news” story drips with comedic flare, but unlike The Onion, the stories sound at least remotely plausible. There’s not the same kind of one-liner jokes and sarcastic tone. With the multitude of ridiculous stories in today’s 24-hour news cycle, it makes each story sounds all the more possible.

This Is That
 often addresses their absurd premises and go to great lengths to feature “interviews” with their subjects. This makes it all the harder to tell it’s not real. The fact that the show airs on Canadian public radio in between real news, is all the more deceptive.

–blue text above taken without permission from: 

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STAND UP COMEDIAN DANIEL TOSH – STYLE: IRONY

(HE’LL EXPLAIN IT TO YOU AS HE GOES–I…TRY TO AS WELL, IF I WISH NOT TO OFFEND, ALTHOUGH, AS SARAH SILVERMAN MENTIONED…ONCE YOU EXPLAIN IT, IT’S NOT A JOKE ANYMORE)

CLIP ONE:

CLIP TWO:

DANIEL TOSH – ‘HAPPY THOUGHTS’ 41:29 VIDEO LINK

The Genius of Sarah Silverman — Satire is not for all to comprehend

 

Saturday, May. 01, 2010

Sarah Silverman thinks young women need better role models. The potty mouthed comedian says she sees the women on The Bachelor or The Real Housewives of New York, women defined by their money or their need for a man, and she fears for girls watching television.

“It’s terrifying.”

Of course, some might say that a comedian with a penchant for swearing and making rape jokes might not be the ideal role model either. But while Silverman has had her fair share of controversy over the years, her humour, she says, is always meant to reveal the stupidity of anyone who might think the way her onstage persona does.

“I can’t control how people infer my jokes or hear them. But to me, I’m always the idiot in my jokes. I may have jokes that invoke rape or the Holocaust and awful, tragic, terrible things. But I’m never making fun of those things,” she says.

“ When you’re wondering what 14-year-old boys want to hear, you’re not going to be putting out anything worth seeing.”

In her new memoir, The Bedwetter: Stories of Courage, Redemption, and Pee, Silverman offers a glimpse into how she became one of the most popular comedians working today, from her early days doing stand up in New York, her brief stint on Saturday Night Live, through to her work on her television show, The Sarah Silverman Program. Much of the book delves into deeply personal territory, such as spending most of her teen years on various pharmaceuticals in her battle with depression and the shame of wetting the bed well into high school thanks to having a small bladder.

“I didn’t want to be a comic who transcribes jokes onto pages,” she says.

Instead, Silverman explains how she first got hooked on making people laugh. Perhaps not surprisingly, it all started with swearing. She learned to swear from her father when she was just three years old, growing up in New Hampshire. Every time she said a bad word, her dad cracked up uncontrollably.

“He got a kick out of hearing a little girl swear and I think I kind of got into getting that reaction of approval from grown-ups. It became a little addicting,” Silverman says. She’s been chasing that high ever since, she adds.

But it was peeing the bed that proved to be pivotal for the 39-year-old comedian.

“It was a source of a very early sense of humiliation,” she says. Yet all the years of living in fear of waking up with wet sheets at a sleepover or camp made the idea of performing on stage seem easy by comparison. “The prospect of bombing when I was starting out was not so scary.”

The jokes have certainly landed Silverman in trouble. In 2001, for example, Silverman used a derogatory word for Chinese-Americans during an appearance on Late Night with Conan O’Brien that resulted in her coming under fire from the Media Action Network for Asian Americans.

At the MTV Movie Awards in 2007, Silverman took aim at Paris Hilton, who was in the audience and about to go to jail for drunk driving. Silverman’s jabs were decried as “nasty” and “vicious” across the blogosphere.

But she’s learned she has to take her lumps.

“Part of taking a chance is that you’re taking a chance that it’s not going to go well, and you have to suffer the consequences.”

Yet while Silverman has no problem mocking celebrities or bringing up subjects like the Holocaust in her comedy, there is one thing she says she won’t joke about.

“Fat jokes about women just burn me out,” she says.

As often as she puts up a hard exterior, she never wants to come across as mean. “I care about being funny and being kind,” she says.

Yet it is hard not to want to be that much more edgy or insensitive as a female comedian working in what’s essentially a boys club. But Silverman is judged by other standards as well. She’s made Maxim magazine’s hot 100 list twice – and has appeared on a few worst dressed lists over the years. You would never see Zach Galifianakis’ wardrobe being criticized by the entertainment industry. But Silverman has learned to brush it off.

“That’s a double standard I could give a shit about,” she says. “I never really second guess the stuff I do. I never try to wonder, ‘What do people want to hear?’ before I write. I think that’s the killer of comedy,” she says. “When you’re wondering what 14-year-old boys want to hear, you’re not going to be putting out anything worth seeing.”

Silverman is certainly not worried about what some might think about God being the author of the afterword of her memoir. The supreme being was not hard to get on the project, Silverman says.

“He’s a total pushover. Give him like, two compliments, and he’ll do anything,” she says.

Her act is just a Rorschach test, Silverman says. People will see what they want to see in it.

“I embrace the fact that my intention is not always going to be what people take in, or infer. And once it’s out there, it’s the audiences’s to hear,” she says. “But if they glean something from what I saw, or it makes them think, or they take something away from it that’s smart, that has more to do with them than me. But I’ll take all the credit they want to give to me.”

 

Bill Hicks — Existential Comedy

“The world is like a ride in an amusement park, and when you choose to go on it you think it’s real because that’s how powerful our minds are.

The ride goes up and down, around and around, it has thrills and chills, and it’s very brightly colored, and it’s very loud, and it’s fun for a while.

Many people have been on the ride a long time, and they begin to wonder, “Hey, is this real, or is this just a ride?” And other people have remembered, and they come back to us and say, “Hey, don’t worry; don’t be afraid, ever. Because this is just a ride.”

And we…kill those people. “Shut him up! I’ve got a lot invested in this ride, shut him up! Look at my furrows of worry, look at my big bank account, and my family. This has to be real.” It’s just a ride.

But we always kill the good guys who try and tell us that, you ever notice that? And let the demons run amok? But it doesn’t matter, because it’s just a ride.

And we can change it any time we want.

It’s only a choice.

No effort, not work, no job, no savings of money.

Just a simple choice, right now, between fear and love.

The eyes of fear want you to put bigger locks on your doors, buy guns, close yourself off.

The eyes of love instead see all of us as one.

Here’s what we can do to change the world, right now, to a better ride.

Take all that money we spend on weapons and defenses each year and instead spend it feeding and clothing and educating the poor of the world, which it would pay for many times over, not one human being excluded, and we could explore space, together, both inner and outer, forever, in peace.”

by Bill Hicks: 1961-1994

[VIDEO] BILL HICKS: The Tupac Shakur of Comedy

William Melvin “Bill” Hicks (December 16, 1961 – February 26, 1994) was an American stand-up comedian and satirist. His humor challenged mainstream beliefs, aiming to “enlighten people to think for themselves.”[1] Hicks used a ribald approach to express his material, describing himself as “Chomsky with dick jokes.”[1] His jokes included general discussions about society, religion, politics, philosophy and personal issues. Hicks’ material was often deliberately controversial and steeped in dark comedy. In both his stand-up performances, and during interviews, he often criticized consumerism, superficiality, mediocrity and banality within the media and popular culture, describing them as oppressive tools of the ruling class, meant to “keep people stupid and apathetic.”[2]

Hicks died of pancreatic cancer, which had spread to his liver, in 1994 at the age of 32. In the years after his death, his work and legacy achieved significant admiration and acclaim, of numerous comedians, writers, actors and musicians alike. He was listed as the 19th greatest stand-up comedian of all time by Comedy Central in 2004, and 6th greatest in 2007 and 4th greatest in 2010 by Channel 4.

Born in Valdosta, Georgia, Bill Hicks was the son of Jim and Mary (Reese) Hicks, and had two elder siblings, Steve and Lynn. The family lived in Florida, Alabama and New Jersey, before settling in Houston, Texas, when Hicks was seven. He was raised in the Southern Baptist faith, where he first began performing as a comedian to other children at Sunday School.[3]

He was drawn to comedy at an early age, emulating Woody Allen and Richard Pryor, and writing routines with his friend Dwight Slade. Worried about his behavior, his parents took him to a psychoanalyst at age 17 but, according to Hicks, after one session the psychoanalyst informed him that “…it’s them, not you.”[3]

In 1978, Hicks, along with friends Slade, Ben Dunn, John S. and Kevin Booth, began performing at the Comedy Workshop in Houston. At first, Hicks was unable to drive to venues independently and was so young that he needed a special work permit to perform. By the autumn of 1978 he had worked his way up to performing once every Tuesday night, while still attending Stratford High School. He was well-received and started developing his improvisational skills, although his act at the time was limited.

In 1986, Hicks found himself broke, but his career received another upturn as he appeared on Rodney Dangerfield’s Young Comedians Special, in 1987. The same year, he moved to New York City, and for the next five years he did about 300 performances a year. On the album Relentless, he jokes that he quit using drugs because “once you’ve been taken aboard a UFO, it’s kind of hard to top that”, although in his performances, he continued to extol the virtues of LSD, marijuana, and psychedelic mushrooms.[4] He fell back to chain-smoking,[5] a theme that would figure heavily in his performances from then on.

In 1988 Hicks signed on with his first professional business manager, Jack Mondrus. Throughout 1989, Mondrus worked to convince many clubs to book Hicks, promising that the wild drug- and alcohol-induced behavior was behind him. Among the club managers hiring the newly sober Hicks was Colleen McGarr, who would become his girlfriend and fiancée in later years.

In 1989 he released his first video, Sane Man.[6] It was reissued in 2006.

In 1990, Hicks released his first album, Dangerous, performed on the HBO special One Night Stand, and performed at Montreal’s Just for Laughs festival.[7] He was also part of a group of American stand-up comedians performing in London’s West End in November (or December[8]). Hicks was a huge hit in the UK and Ireland and continued touring there throughout 1991. That year, he returned to the Just for Laughs festival and recorded his second album, Relentless.

Hicks made a brief detour into musical recording with the Marble Head Johnson album in 1992. In November (or December[8]), he toured the UK, where he recorded the Revelations video for Channel 4. He closed the show with “It’s Just a Ride”, one of his most famous and life-affirming philosophies. Also in that tour he recorded the stand-up performance released in its entirety on a double CD titled Salvation. Hicks was voted “Hot Standup Comic” by Rolling Stone magazine. He moved to Los Angeles in early 1993.

Censorship and aftermath

Hicks was constantly facing problems with censorship. In 1984, Hicks was invited to appear on Late Night with David Letterman for the first time. He had a joke that he used frequently in comedy clubs about how he accidentally caused a fellow class-mate to become wheelchair bound. NBC had a policy that no handicapped jokes could be aired on the show, making his stand-up routine difficult to perform without mentioning words such as “wheelchair”. Hicks was disappointed that the TV audience didn’t get to experience the uncensored Bill Hicks that people saw in clubs.[9]

On October 1, 1993, about five months before his death, Hicks was scheduled to appear on Late Show with David Letterman, his twelfth appearance on a Letterman late night show but his entire performance was removed from the broadcast — then the only occasion where a comedian’s entire routine was cut after taping. Hicks’ stand-up routine was removed from the show allegedly because Letterman and his producer were nervous about Hicks’ religious jokes. Hicks said he believed it was due to a pro-life commercial aired during a commercial break.[10] Both the show’s producers and CBS denied responsibility. Hicks expressed his feelings of betrayal in a letter to John Lahr of The New Yorker.[11][12] Although Letterman later expressed regret at the way Hicks had been handled, Hicks did not appear on the show again. The full account of this incident was featured in a New Yorker profile by Lahr[11], which was later published as a chapter in Lahr’s book, Light Fantastic.[13]

Hicks’ mother, Mary, appeared on the January 30, 2009, episode of Late Show. Letterman played Hicks’ routine in its entirety. Letterman took full responsibility for the original censorship and apologized to Mrs. Hicks. Letterman also declared he did not know what he was thinking when he pulled the routine from the original show in 1993. Letterman said, “It says more about me as a guy than it says about Bill because there was absolutely nothing wrong with it.”

Cancer diagnosis and death

In April 1993, while touring in Australia, Hicks started complaining of pains in his side, and on June 16 of that year, he was diagnosed with pancreatic cancer that had spread to his liver.[16] He started receiving weekly chemotherapy, while still touring and also recording his album, Arizona Bay, with Kevin Booth. He was also working with comedian Fallon Woodland on a pilot episode of a new talk show, titled Counts of the Netherworld for Channel 4 at the time of his death. The budget and concept had been approved, and a pilot was filmed. The Counts of the Netherworld pilot was shown at the various Tenth Anniversary Tribute Night events around the world on February 26, 2004.

After being diagnosed with cancer, Hicks would often joke openly at performances exclaiming it would be his last. Hicks performed the actual final show of his career at Caroline’s in New York on January 6, 1994. He moved back to his parents’ house in Little Rock, Arkansas, shortly thereafter. He called his friends to say goodbye, before he stopped speaking on February 14[citation needed], and re-read J.R.R. Tolkien’s The Fellowship of the Ring.[17] He spent time with his parents, playing them the music he loved and showing them documentaries about his interests. He died of cancer in the presence of his parents at 11:20 p.m. on February 26, 1994. He was 32 years old.[18] Hicks was buried in the family plot in Leakesville, Mississippi.

On February 7, 1994, after his diagnosis with cancer, Hicks authored a short statement on his perspective, wishes and thanks of his of life, to be released after his death as his “last word”,[16] ending with the words:

“I left in love, in laughter, and in truth and wherever truth, love and laughter abide, I am there in spirit.”

Comic style

Hicks’s style was a play on his audience’s emotions. He expressed anger, disgust and apathy while addressing the audience in a casual and personal manner, which he likened to merely conversing with his friends, often making eye contact with individual audience members in smaller venues.

Hicks’s material was less focused on the everyday banalities of life and placed greater emphasis on philosophical themes of existence. He would invite his audiences to challenge authority and the existential nature of “accepted truth.” One such message, which he often used in his shows, was delivered in the style of a news report:

Today, a young man on acid realized that all matter is merely energy condensed to a slow vibration — that we are all one consciousness experiencing itself subjectively. There is no such thing as death; life is only a dream, and we are the imagination of ourselves… Here’s Tom with the weather! [19]

Another of Hicks’s most famous quotes was delivered during a gig in Chicago in 1989 (later released as the bootleg I’m Sorry, Folks). After a heckler repeatedly shouted “Free Bird”, Hicks screamed that “Hitler had the right idea, he was just an underachiever!” Hicks followed this remark with a misanthropic tirade calling for unbiased genocide against the whole of humanity.[20]

Much of Hicks’s routine involved direct attacks on mainstream society, religion, politics, and consumerism. Asked in a BBC interview why he cannot do a routine that appeals “to everyone”, he said that such an act was impossible. He responded by repeating a comment an audience member once made to him, “We don’t come to comedy to think!”, to which he replied, “Gee! Where do you go to think? I’ll meet you there!” In the same interview, he also said: “My way is half-way between: this is a night-club, and these are adults.” [21]

Hicks often discussed conspiracy theories in his performances, most notably the assassination of President John F. Kennedy. He mocked the Warren Report and the official version of Lee Harvey Oswald as a “lone nut assassin.” He also questioned the guilt of David Koresh and the Branch Davidian compound during the Waco Siege.

Hicks would end some of his shows — and especially those being recorded in front of larger audiences as albums — with a mock “assassination” of himself on stage, making gunshot sound effects into the microphone and falling to the ground.

Legacy

Arizona Bay and Rant in E-Minor were released posthumously in 1997 on the Voices imprint of the Rykodisc label. Dangerous and Relentless were also re-released by Rykodisc on the same date.

In a 2005 poll to find The Comedian’s Comedian, fellow comedians and comedy insiders voted Hicks #13 on their list of “The Top 20 Greatest Comedy Acts Ever”. Likewise, in “Comedy Central Presents: 100 Greatest Stand-ups of All Time” (2004), Hicks was ranked at #19. In March 2007, Channel 4 ran a poll, “The Top 100 Stand-Up Comedians of All Time,” in which Hicks was voted #6. Channel 4 renewed this list in April 2010, which saw Hicks move up 2 places to #4.[36]

Devotees of Hicks have incorporated his words, image, and attitude into their own creations. Because of audio sampling, fragments of Hicks’ rants, diatribes, social criticisms, and philosophies have found their way into many musical works, such as the live version of Super Furry Animals’ “Man Don’t Give A Fuck”. His influence on Tool is well documented; he “appears” on the Fila Brazillia album Maim That Tune (1996) and on SPA’s self titled album SPA (1997), which are both dedicated to Hicks; the British band Radiohead’s second album The Bends (1995) is also dedicated to his memory. Singer/songwriter Tom Waits listed Rant in E Minor as one of his 20 most cherished albums of all time.[37] The UK band Shack released an album in August 2003 quoting a Bill Hicks routine in the title: Here’s Tom With the Weather. The album also included other Bill Hicks quotes in the liner notes. English breakbeat artist Adam Freeland sampled Revelations for his track “We Want Your Soul.” Welsh punk rock band Mclusky reference a Hicks routine in the lyrics to their song “To Hell With Good Intentions”. Punk cabaret musician Amanda Palmer says, “I have my new Bill Hicks CD” in the song “Another Year” on her 2008 album Who Killed Amanda Palmer. The Swedish indie pop singer/songwriter Jens Lekman has written a song called “People who Hate People Come Together” after the same Hicks quote. The last track of The Kleptones album Yoshimi Battles the Hip-Hop Robots, Last Words (A Tribute), includes his “It’s just a ride” in its entirety.[citation needed]

Hamell on Trial’s 1999 album Choochtown includes the song “Bill Hicks,” featuring the lyric “I wish Billl Hicks was alive/I wish Bill Hicks had survived,” as well at the instrumental tribute “Bill Hicks (Ascension).”

Rappers Adil Omar and Vinnie Paz have also cited Hicks as an influence to their work; contemporary comedians David Cross and Russell Brand have stated that they were inspired by Hicks.[38][39] Irish Independent columnist Ian O’Doherty is also a great admirer of Hicks.

On their 2009 album There Is No Enemy, Built To Spill released the song “Planting Seeds” with the lyrics “I’ve heard that they’ll sell anything and I think they might…I think Bill Hicks was right…about what they should do.” referring to his stand up routine which asks marketers to kill themselves. The song title refers to a bit in the same routine when Bill explains, “Just planting seeds here, folks.”.

The British film Human Traffic referred to him as the “late prophet Bill Hicks,” and portrays the main character, Jip, watching Hicks’ stand-up before going out to “remind me not to take life too seriously”. Hicks even appears in the comic book Preacher, in which he is an important influence on the protagonist, Rev. Jesse Custer. His opening voice-over to the 1991 Revelations live show is also quoted in Preacher‘s last issue.[citation needed]

The British actor Chas Early portrayed Hicks in the one-man stage show Bill Hicks: Slight Return, which premiered in 2005.

On February 25, 2004, British MP Stephen Pound tabled an early day motion titled “Anniversary of the Death of Bill Hicks” (EDM 678 of the 2003-04 session), the text of which was as follows:

That this House notes with sadness the 10th anniversary of the death of Bill Hicks, on 26th February 1994, at the age of 32; recalls his assertion that his words would be a bullet in the heart of consumerism, capitalism and the American Dream; and mourns the passing of one of the few people who may be mentioned as being worth [sic] of inclusion with Lenny Bruce and George Carlin in any list of unflinching and painfully honest political philosophers.[40]

Film and documentary

A film about Hicks’ life and career, rumored to be directed by Ron Howard, is said to be in pre-production. Russell Crowe has been mentioned as one of the producers and may portray Hicks as well.[41]

A documentary entitled American: The Bill Hicks Story, based on interviews with his family and friends, premiered on March 12, 2010, at the South by Southwest Film Festival in Austin, Texas.[42] The film has gone on to screen at multiple festivals including SxSW, London Film Festival and Sheffield Doc/Fest.