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Lädt ... Ladies and gentlemen - Lenny Bruce!!| 194 | Keine | 141,272 | 
(3.65) | 1 | The author of the bestselling biographies The Lives of John Lennon and Elvis explores the tumultuous life of one of the most controversial comics who ever lived. Lenny Bruce's life is reconstructed in dazzling sequences that capture his genius in the same lingo and rhythm, shtick comedy and junkie surrealism that characterized his imagination.… (mehr) |
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Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen. For George DeLeon  | |
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Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen. A DIRTY GRAY morning in February, 1960. | |
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Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen. Lenny prided himself on his ability as a P.R. man. Not only did he love to write funny put-on ads and promotions and commercials, but at an early point in his career, when he first got into nightclubs, he used to take space in the daily Variety and publish these big thank-you notes. You know those hats-off-to, I’ll-never-forget bullshit acknowledgments that the showbiz assholes are always making to the third assistant janitor and toilet flusher. Well, Lenny would write this big thing saluting or hailing or throwing candy kisses to “All the People Who Have Helped Me in the Business.” Then he’d print the names of his worst enemies——everybody who had fucked him and gypped him and ripped him off since he was two months old. An honor roll of pricks he would print——with each shithead getting his ironic personalized tribute. Lenny comes from a lower-middle-class society that allows no one any privacy unless they are protected by the seal of the bathroom door. Going into the bathroom, in this world, is the equivalent of saying, "I want to be alone." What makes The Palladium great is simply the fact that it is Lenny Bruce confronting his own essence. There was only one world that Lenny ever mastered and that was the smarmy little world of small-time show biz. Everything that Lenny achieved as a satirist depended on his ability to translate the great world into this little world. Having used the show-biz metaphor brilliantly to burlesque the high and mighty from the Vatican to the White House, Lenny finally turned the genius of his satire on his own metaphor, his own world and his own self in this climactic bit. Satirists are the last men in the world with whom the liberals and the avant-garde should consort. They are radical only in their choice of words. What they have to express is not a passion for change and improvement or a millennial vision of the earthly paradise but an endless reiteration of the follies and sins of humankind. Satirists are moralists, and the moralists of this world are precisely those people who are in the rear— not the vanguard of society.
Lenny Bruce was a man with an almost infantile attachment to everything that was sacred to the American lower-middle class. He believed in romantic love and lifelong marriage and sexual fidelity and absolute honesty and incorruptibility—all the preposterous absolutes of the unqualified moral conscience. There is an enormous difference between being funny and being a comedian. Many of the funniest people in America are just as unknown as Joe Ancis. Oh, they may enjoy public reputations as writers, teachers, musicians or celebrities of one sort or another——but nobody thinks of them, apart from their friends, as comedians. Philip Roth, for instance, was a fantastically funny man years before Portnoy’s Complaint was published. He broke up his friends at parties, flew off in conversation into marvelous fantasies, did all sorts of voices and dialects, rehearsed old radio shows, exhibited exactly the same sense of timing, meter and delivery as any professional comedian. Not until Portnoy was published, however, did anyone have any idea of Roth’s comic genius; and even now, after two consecutive books of nearly pure comedy, there are features of his private humor, especially those that depend on oral delivery, that are not familiar to the public. A talent for comedy is a very different thing from a talent for public performance.
To get out in front of the public, you have to have a special kind of nerve that is given to very few men. Comedians are, of all performers, the most vulnerable. Unlike every other species of entertainer, they do not appear to have a craft, a mystery. “Who is he, after all, this guy in the tuxedo, showing off and trying to be funny? Lots of people are funnier than he is——I’m sometimes funnier than he is! Am I right, Myrna?” Even the greatest comedians draw a certain amount of antagonism, a certain amount of static with which they must deal. Deal with it they do. The very first step in becoming a comic is learning how to handle rejection——a problem that has nothing essentially to do with being funny. Philip Roth and Jules Feiffer and Albert Goldman struggled to outdo Lenny Bruce in humor and verbal brilliance. Philip had never been sold on Bruce. He found him obvious and not that funny. When the records were played for him at intellectual social gatherings, he felt an acute sense of embarrassment. Lenny didn’t know how to use words: that much was obvious. Like all semiliterates, he got a piece of the word——like getting a piece of the ball, Al!——and he didn’t quite get it all. Couldn’t send it neatly over the near-left field fence, as any really practiced, really schooled, really talented writer could do. What’s more, like all these self-important show-biz types, he abused the language with dreadful phrases like “behavior patterns” or plumed himself with words he had no title to, like “neologize.” Now how’s that for chutzpa? Lenny Bruce talking about “neologizing?”——does the damn word really have a participal form? Oh, it was silly to go on and on about this latest pet of the cranky New York intelligentsia——Philip wasn’t at all keen on what was coming out of Mr. Lenny Bruce. “Admit it, Al, I’m funnier many times!” As the IRT train roared up the East Side, Al admitted it. Yet it struck me as odd that a bigshot writer like Philip Roth should be hotly competitive with a mere nightclub comic. | |
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Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen. | |
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▾Literaturhinweise Literaturhinweise zu diesem Werk aus externen Quellen.  Wikipedia auf Englisch
Keine ▾Buchbeschreibungen The author of the bestselling biographies The Lives of John Lennon and Elvis explores the tumultuous life of one of the most controversial comics who ever lived. Lenny Bruce's life is reconstructed in dazzling sequences that capture his genius in the same lingo and rhythm, shtick comedy and junkie surrealism that characterized his imagination. ▾Bibliotheksbeschreibungen Keine Bibliotheksbeschreibungen gefunden. ▾Beschreibung von LibraryThing-Mitgliedern
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