We interviewed twenty professional comedians who perform live shows in front of audiences and who use artificial intelligence in their artistic process as part of 3-hour workshops on AI x Comedy'' conducted at the Edinburgh Festival Fringe in August 2023 and online. The workshop consisted of a comedy writing session with large language models (LLMs), a human-computer interaction questionnaire to assess the Creativity Support Index of AI as a writing tool, and a focus group interrogating the comedians' motivations for and processes of using AI, as well as their ethical concerns about bias, censorship and copyright. Participants noted that existing moderation strategies used in safety filtering and instruction-tuned LLMs reinforced hegemonic viewpoints by erasing minority groups and their perspectives, and qualified this as a form of censorship. At the same time, most participants felt the LLMs did not succeed as a creativity support tool, by producing bland and biased comedy tropes, akin tocruise ship comedy material from the 1950s, but a bit less racist’’. Our work extends scholarship about the subtle difference between, one the one hand, harmful speech, and on the other hand, offensive'' language as a practice of resistance, satire andpunching up’’. We also interrogate the global value alignment behind such language models, and discuss the importance of community-based value alignment and data ownership to build AI tools that better suit artists’ needs.