The scripts of some early episodes of Sanford and Son were rewritten from story lines from the series Steptoe and Son. However, the contributions of Redd Foxx, African American screenwriters, and other cast members transformed this British program into a show reflective of African American experiences and African American humor. As discussed in the introduction, African American humor not only is based in notions of realism but also has the potential for satire and self-critique. These three key elements of black humor are evident in Sanford and Son.

The choice of setting for Sanford and Son, Watts, Los Angeles, situated the comedy in the experience of African American everyday life and culture. Watts had come to represent a space of black uprising and was intimately connected to the ideas of contemporary black protest because of the urban revolt within the community. The show was definitely not escapist, although many perceived it as such. To accuse the show of escapism is to ignore the form of traditional African American comedy, which uses humor to deal with harsh realities.

Although related in a humorous vein, many of the problems that occurred were caused by the Sanfords' lack of money. There were repeated jokes about the meals that Fred concocted out of what the pair had left in the refrigerator, which, along with his Ripple mixes, were visible indicators of their lower-class existence. Although Sanford owned his own junkyard, it was clear that he and Lamont were usually one sale away from losing the business. Lamont's constant search for his identity and for his potential future in a variety of activities such as acting, Afrocentricity, and new jobs was rooted in the frustrations of working at the same job day after day and not getting anywhere—experiences that many working-class black Americans could and still can relate to.

Satire worked on many levels within the story lines of Sanford and Son, but perhaps no more significantly than in the representations of the LAPD. Two police officers had recurring roles in the show—one white (Hoppy) and one black (Smitty). Smitty was efficient and perceptive; Hoppy was always the butt of the joke. Hoppy's officious attitude and his attempts at "being down" with black culture were recurring jokes. Smitty repeatedly corrected him for his improper use of black vernacular. The episode "Tower Power" (November 27, 1974) presents a typical example when the two police officers try to solve an argument between Lamont and Fred.

SMITTY: Fred, Lamont, look why don't we come back when you get this all settled?
HOPPY: Yeah, you get together and you know knock to each other.
SMITTY: No no. That's rap to each other.
HOPPY: Oh yeah, rap to each other, just be honest, you know, let it all hang off.
SMITTY: Hang out.
HOPPY: Hang out, hang out, hang out. So long. It's so long, right?
SMITTY: Just get in the car.

Considering the negative reputation of the LAPD, especially in relation to the events surrounding the Watts rebellion, it was a bold act to ridicule this organization on a national forum.

Another aspect of African American comedy found in Sanford and Son was the use of self-critique. The representation of Aunt Esther and her devout religious beliefs perhaps provided the sharpest arena for criticism. The tenuous historical position of religion in black life was discussed previously, in chapter 3. Aunt Esther is basically a caricature of the black church, and she continually calls Fred a heathen and prays to Jesus to save his soul. She is positioned in opposition to Fred, who as performed by Foxx can be seen as this secular black character who does not accept the incongruities of the church.

The roots of African American humor are again evident in one of the lasting legends of African American folklore, the trickster. In a 1970s context, Fred Sanford is the consummate trickster. The majority of Sanford and Son episodes hinge on this very premise. Fred and Lamont are continually at odds, because Fred is constantly devising plans so that he can avoid the work of "coordinating" the junkyard and can relax and watch television. He also has many grand schemes to get rich quick, from making deals at the junkyard to playing the numbers and gambling a hunch in Vegas. Some black activists saw this image as a problematic stereotype, because Hollywood has a legacy of representing black men as shiftless and lazy, out to make a quick dollar by any means necessary.  However, to cast Sanford and Son into the category of stereotype is to ignore its positioning within traditional African American folklore.

"The Great Sanford Siege" (March 3, 1972) illustrates the workings of the trickster and also exemplifies another aspect of African American humor, the physical component.  Fred's constant complaints of heart attacks or his arthritis with his flailing arms and stumbling movements exemplify the ways in which the physical combines with the verbal to present the nuances of African American humor. The episode begins with Fred and Lamont discussing the numerous final notices from unpaid bills. According to Fred the "bills come in time but there has been a slight delay on the money." The lights and the gas in the house have been turned off, and the two are stuck at home avoiding a summons server. A collection agent from the Luau Layaway Furniture Company (Dick Van Patten) arrives to repossess his furniture, and he eventually brings the police. When Fred realizes that nothing will stop the repossession of the furniture and the television, he fakes a back injury. Lamont joins in the charade by helping his moaning father over to the couch, telling the repossessor, "All I know is that you threw an old man down the stairs." The repossessor continues to protest while Fred pulls out all the stops, "Hear that, Elizabeth, I'm coming to join you, honey, with a bad back." Van Patten looks to the police for help, saying to the black officer, "You know your people better than I do; what do you think that I should do?" The cop replies, "You want some real good advice? If I were you I'd get out of this neighborhood before it gets dark."

Van Patten decides to make a deal, and Lamont and Fred convince him to sign over a check for two hundred dollars. Lamont shows some regret at the end of the episode and wants to pay it back because it was "like stealing." Fred responds that he "worked for that money. Do you know how much Richard Burton gets paid for an acting job like that?" It is unclear at the episode's conclusion what they will do, but they now have the money to pay all of the bills.

Also, intricately tied to the character of the trickster is another "venerable black comic tradition—the tall tale or simply lying."  Sanford clearly took this to a new height in "A Visit from Lena" (January 1, 1973). While visiting the NBC studios for a tour, Fred sneaks into the dressing room of The Tonight Show to meet Lena Horne. When he sees her, he has another of his famous heart attacks but tells her what a big fan he is, mentioning that he saw Stormy Weather thirty-eight times. "Went in on a Saturday came out on a Wednesday evening." This is just the beginning of the joke or the lie. With each line, Fred elaborates on an unbelievable story. He tells her that he promised his son he would try to see her, that his son is a big fan, and his mother used to sing "Stormy Weather" to him when he was a baby. However, since she died, "Little Lamont" has not been the same, and he doesn't even go to school anymore. When Lena asks why Lamont feels connected to her, Fred says that she is the only one who can sing "Stormy Weather" like his mother. Fred says that Lamont looks to her as a substitute mother. When Lena asks why he did not bring Lamont and suggests that it might be that Lamont is lame, Fred readily agrees, "Lame, that's what he is—lame." He finally convinces her to visit "little lame Lamont" at their house.

Fred invites all of his poolroom friends to see Lena and bets each of them fifteen dollars that she will visit the house. When Lena finally shows up at the house, looking for Little Lamont, she discovers that Lamont is neither little nor lame. She is furious that she stopped by on a lie and that she is going to miss her plane to San Francisco, where she planned to raise money for Operation Headstart. When Fred's friends arrive and begin to pay off the bet, Lena explodes, calling him a "low down, jiving, conniving . . ." Fred cuts her off and turns the deteriorating situation around to his benefit. He tells her that he bet them only to raise money for Operation Headstart. Lena gives Fred a big kiss on the lips in gratitude, leaving him reeling.

Like the trickster of African folklore, Fred is unsuccessful with his plans in many instances. For example, in the episode "This Land Is Whose Land?" (1974), Fred is aggravated by his neighbor Julio, who is storing some of his junk on the Sanfords' land with Lamont's permission. Fred objects to Lamont's lenient ways.

SANFORD: I might accidentally sell some Puerto Rican junk. I might wind up selling it to the guy it was stolen from.
LAMONT: Hey Pop, Julio's junk is not stolen.
SANFORD: Then why is he hiding it over here in our yard? I want it out of here.
LAMONT: What for? We got plenty of room.
SANFORD: But we won't have if we don't stop it now. That's how they move in. A tire here, a lamp there, then you have a big wide-rimmed hat in your living room and then cockroaches in your kitchen, and pretty soon your whole house is full of Puerto Ricans.
LAMONT: I knew the real reason would come out—you're prejudiced. You're never going to get used to the idea of Julio being our neighbor. Well Julio is our neighbor, and he is my friend, and he's not doing anything wrong.

The play on Sanford's prejudicial attitude continues when the surveyor shows up and has an obvious Latino accent. His name is Manuel Eduardo Estaban Gonzales y Rodriguez. Although Fred is concerned, the surveyor assures him that "the legal boundary comes from the county recorder; it cannot be changed." Fred realizes that he has overplayed his hand in this round when he is informed by the surveyor that Julio owns the majority of the land on which Fred's junkyard sits. The trickster is defeated by his own greed.

Another example of the trickster outdoing himself occurs in the episode entitled "Home Sweet Home" (1974). A Japanese investor offers the Sanfords and their neighbors money for their properties so that a brewery can be built. When the Japanese investor visits and offers twenty thousand dollars, Fred pretends to have sentimental attachment to the property. Although the company makes a counteroffer of over twenty-seven thousand dollars, Fred, sold on the idea that he can get the price up to thirty thousand dollars, refuses the offer. The Japanese family, so convinced of Fred's attachment to his home, withdraws the offer rather than uproot the Sanfords. This trickster, like Brer Rabbit in animal fables, often outfoxes himself.