The internet has done nothing but good for comedy all around. Comedians no longer have to rely on TV execs and club owners deciding if they are funny or not. There’s the problem of piracy if you think it’s a problem. I credit piracy with getting my name known enough to have a decent career. People bootlegging shows on cellphones and putting material out before it’s finished is a problem for every comic, but compared to all the upsides of what the internet has done, it’s a fact of life that we’ll learn to adapt to even if it means finding these people and killing their families in front of them.

[Following a brief description of his very successful career] But if you listened very carefully, you would have heard two words over and over again: “lucky” and “given.” Those are two very very dangerous words for a comedian. Those two words can put you to sleep, especially once you get a taste of both being “lucky” and being “given.” The days about luck and being given are about to end. They’re about to go away.

Not totally. There are always comedians who will work hard and get noticed by agents and managers and record labels. There will always be an element of that. And they deserve their success. And there’s always going to be people who benefit from that.

What I mean is: Not being lucky and not being given are no longer going to define your career as a comedian and as an artist.

You guys need to stop thinking like gatekeepers. You need to do it for the sake of your own survival.

Because all of us comedians after watching Louis CK revolutionize sitcoms and comedy recordings and live tours. And listening to "WTF With Marc Maron" and "Comedy Bang! Bang!" and watching the growth of the UCB Theatre on two coasts and seeing careers being made on Twitter and Youtube.

Our careers don’t hinge on somebody in a plush office deciding to aim a little luck in our direction. There are no gates. They’re gone. The model for success as a comedian in the '70s and '80s? That was middle school.

We can just walk away.

You know why we can do that now? Because of these. (Oswalt holds up an iPhone)

In my hand right now I’m holding more filmmaking technology than Orson Welles had when he filmed Citizen Kane.

I’m holding almost the same amount of cinematography, post-editing, sound editing, and broadcast capabilities as you have at your tv network.

In a couple of years it’s going to be fucking equal. I see what’s fucking coming. This isn’t a threat, this is an offer.

Whenever anyone else made a political promise, Gnarr made a bigger one. Gnarr proposed attracting tourists by leveraging the fame of Iceland's most famous citizen: The pop singer Bjork.

His vision:

We should have this huge statue of Bjork at the harbor like the statue of liberty and instead of a torch she would be having a microphone and she would shout out some information about Reykjavik in three different languages and she would be revolving, you know? And also there would be lights. Her eyes would shoot lights on interesting tourist spots in Reykjavik.

When a candidate proposed building an entire amusement park, Gnarr went small.

"I promised to have a life size Mickey Mouse," he says. "We would be the only Disney World that had a life size Mickey Mouse."

When political events turned boring, Gnarr would walk out.

"I have realized that the politicians, or most of them, are not evil, stupid people like I thought they were."

"If you insinuate that you want to have sex with young children in Muskegon County and put that in the Internet, you've got a problem with the law," Tague said.

"As prosecutor of Muskegon County, I feel I have a strong obligation to vigorously defend all the children in our county. To insinuate on a tape that you want to perform perverted acts on children is clearly within the scope of the law with which Mr. Emory is charged."

He says he's not particularly angry, and thinks it could have just been coincidence, as Fred Armisen, Bill Hader, and Andy Samberg, among other "SNL" cast members, have appeared on "Adult Swim."

"We understand that we've created something that a lot of people in comedy watch and like, and influences are totally fine," he says. "We draw influences from people all the time."

He goes on, "I don't want to start a big thing here. But it'll be interesting to see what the web does with this."

There's a price to pay for it in terms of reputation. The backlash against Mencia is exactly that price. His reputation is taking a big hit, and he seems to keep digging himself a deeper hole by refusing to admit that he repurposed others' jokes (and, in fact, is apparently still doing so). So, perhaps the real issue here is that this is an issue that can be solved by social norms, rather than laws like copyright. If you're going to make use of someone else's work, it's going to come back and bite you if you're not willing to admit it. There is still value in being a good joke teller, even if you're using other people's work -- but if you keep pretending that you were also the creator of that work, it's going to come back and hurt you in terms of your reputation.

At first glance, this may seem like a nasty but ultimately meaningless showbiz feud. But it's more than that. In fact, Rogan's decision to confront Mencia is an example of what stand-up comedians do all the time. Comedians have rules of their own about joke-stealing. And they impose their own punishments on thieves....

Why do comedians do this? In part, because they live in a world where intellectual property law -- in particular, copyright -- does not help them much when a rival comedian steals a joke. In theory, copyright law applies to jokes. But in the real world, lawsuits are simply too expensive and uncertain to work as an effective response to joke stealing.

Importantly, comedians' norms are not just "suggestions." They also include informal but powerful punishments. These start with simple badmouthing and ostracism. If that doesn't work, punishments may escalate to a refusal to work with the offending comedian -- which can keep the accused joke-thief off of comedy club rosters. Occasionally, punishments turn violent. None of these sanctions depend on the law -- indeed, when comedians resort to threatening or beating up joke thieves, that's against the law. That said, although both the rules and the punishments are informal, they are effective. Within the community of comedians, it hurts to be accused of stealing a joke. In some cases, repeat accusations may destroy a showbiz career.

REINER We did [the 2000 Year Old Man routine] out here in Los Angeles at what you would call a Class A party. One by one people came over to us. George Burns came by with a cigar and said, "Is there an album?" I said no. He said, "Well, you better put it on an album, or I'm going to steal it."

BROOKS That's true, he said he was going to steal it.

REINER Edward G. Robinson, who was there, said: "Write a play. I want to do it on Broadway." And the one who came up to us and really made sense was Steve Allen. He said you have to make an album.

The standard rap says that you make an object and people might copy it ("steal" it), so you have to have rights to go after the thief. Here, the rap is turned inside out: You make an object in order to keep people from copying it. Social norms are still important, because they have something to do with why and how making an album would keep George Burns from becoming the 2000 Year Old Man. But they aren't everything.