Essay: Evolution of stand up comedy

The stories communicated by early comedians were well-liked by relatively small audiences. At the turn of the century, as American ideals changed with the rise of the modern city, audiences began to desire comedy that was more representative of mainstream America. The country was galvanized by the industrial revolution in the early 20th century, a time when cheap labor allowed for mass production. The development of railroads represented advents in technology that also helped create greater consumerism among Americans. The work facilitated industrial growth, which created a working class of Americans who looked for different forms of entertainment. Additionally, the values of Americans began to change as a result of technological advances and a more liberalized society. Greater acceptance of sex and other vices became popular with the members of the working class of Americans. The origin of stand-up comedy has been traced to the short, spoken-word acts that were popularized throughout the United Kingdom during the beginning of the 18th century. The origins of stand-up comedy have been traced to popularity of the “spoken-word acts that were staged in small music halls and parlors” (Anonymous 1). Today, stand-up comedy continues to reflect important elements that were popularized in the beginning of the 18th century and yet still continue to attract audiences today; comedy acts reflect the idiosyncrasies of each respective society.
The emergence of stand-up routines allegedly began in the United Kingdom where the traditions of comedy and satire became popularized because 18th century English men and women possessed an affinity for mocking themselves. “A serious history of stand-up comedy” by an unknown author says that “minstrel shows are believed to have begun around the 1840s” (Anonymous 1). This comedic “tradition” was popular in “the Middle Ages when Medieval Kings and rich nobles had jesters who told jokes and made fun of people in the Court.” (Afzal 37). The minstrel shows were always known for having a fairly racist aspect to them, where white performers would “darken their faces with soot and/or cork ash, exaggerating their lips and mannerisms to reflect commonly held (and utterly racist) views at the time” (Anonymous 1). I still need to add more to this paragraph. The same comedic element continued to be popularized by Shakespeare, who introduced a variety of different comedic characters in his plays. Additionally, in the mid to later 18th century, the same tradition continued in political cartoons where prominent politicians and members of the monarchy were even attacked or ridiculed.
In both the United Kingdom and America, stand-up comedy evolved from a variety of theatre acts or vaudeville shows, where actors or emcees mocked societal values in between theatre performances and shows in an effort to entertain the masses. While early American humorists languished in their efforts to promote “comedy routines, the long-winded nature of their presentations were not always well-appreciated by audiences. Subsequently, brief and glib commentary on social ‘norms’ became routine at vaudeville shows where many middle Americans were entertained,” (McGraw and Warner 1). Equally instrumental in the evolution of American stand-up comedy were minstrel shows, which were popularized in the 1800’s, consisting of comic skits and variety of acts representing people of African American descent and “reflecting a society characterized by Jim Crow laws” (Anonymous 1). These shows, however, were reflective of the racial attitudes of the time.
Like the evolution of stand-up comedy in the United Kingdom, the popularity of American comedy was supported through the advancement of technology including radio and television. Television comedy developed a unique style focused on situational comedies making fun of family life, the workplace, and personal relationships. These topics were popular with the masses. Records and radio shows were exceptionally popular with Americans during the pre-World War II period. During the war, comedy was fueled by routines emphasizing working together and laughing together. Abbot and Costello’s famous routine “Who’s on First” reflected America’s preoccupation with a strictly American invention: baseball. After the war, stand-up comedy acts were delivered through TV Variety shows like the Ed Sullivan Show. Comedians that flourished through this medium included Lenny Bruce, Steve Allen, Bob Hope, and George Carlin, among many others.
The comedy routine of Lenny Bruce was important in the evolution of stand-up comedy specifically in America. Bruce constantly pushed boundaries and delivered jokes that mocked American prejudiced attitudes held by society. Though many Americans characterized Bruce as being obscene, similar to Andrew Dice Clay, his efforts reflect an innovative or unique approach to making fun of others in a brash and straightforward manner. George Carlin was influenced by Bruce’s performances and as a result, he altered his routine to be much more provocative. This new approach was received well by most Americans. Laugh-evoking censorship was first introduced on Candid Microphone and later on Candid Camera, where “bleeps” were used to get rid of any forbidden word or action Americans identified as inappropriate.
With efforts to censor these routines, however, other comedians began to push the boundaries of the values that were acceptable by the majority of Americans. Carlin and other comedians specifically attempted to constantly push the boundaries of censorship in delivering routines that made fun of American norms that did not make sense. Carlin’s routine, similar to Bruce’s, was unique but pushed boundaries. His routines were delivered through the growing popularity of television, where pay-per-view options resulted in comedians becoming wealthy. In acquiring wealth, comedians like George Carlin began to deliver their routines on tours where they also had the chance to meet fans and develop greater popularity. More comedians began to copy Carlin’s routines and delivery in their efforts to also benefit financially (Judy Carter’s Stand-Up Comedy: The Book).
America’s development as an industrialized nation allowed for consumers to gain exposure to comics at an unparalleled pace given the rise and popularity of television in the 1970’s and 1980’s. These routines continued to push the values of society especially with sex and profanity. Comedy routines delivered through this medium and through radio however, were censored
Comedians such as Jerry Seinfeld used the similar approaches of Bruce and Carlin, making fun of societal values that most Americans identified as being illogical and stupid. Seinfeld also became popular through his sitcom on television. Seinfeld presented a collection of skits about “nothing” or typical American values and behaviors that most Americans thought were inappropriate for society. Watching and reading Seinfeld’s TV show and books can reveal the similarities between his style and George Carlin’s, along with the other comedians who influenced both Carlin and Seinfeld. Both of these comedians are known for making fun of society’s views and pointing out what they deem as ills of society (From Seinfeld’s and Carlin’s books. Will properly cite later.)
George Carlin, Jerry Seinfeld, and Sebastian Maniscalco all have very similar routines. It is not always the specific subject that is similar, but more about the general topic. That general topic includes mocking American societal values and actions that most people often fail to realize as insignificant. George Carlin has an entire routine about airlines and how the things that they say and do really make little sense when examined deeper. In his 1992 special from New York City, Carlin says:
“The next sentence I hear is full of things that piss me off: ‘Before leaving the aircraft, please check around your immediate seating area for any personal belongings you might have brought on board.’ Well let’s start with ‘immediate seating area.’ Seat! It’s a goddamn seat! Check around your seat. ‘For any personal belongings.’ Well what other kinds of belongings are there besides personal? Public belongings? Do these people honestly think I might be traveling with a fountain I stole from the park? ‘You might have brought on board.’ Well, I might have brought my arrowhead collection. I didn’t, so I’m not going to look for it! I am going to look for things I brought on board! Would seem to increase the likelihood of my finding something, wouldn’t you say?”
Carlin often did routines similar to this one, critiquing things that people hear everyday, but do not realize how over elaborate or verbus they are until really examined and exposed. George Carlin is not the only comedian to have done things like this. Although he was one of the firsts, there were many others that followed in his footsteps. Here is an example of Jerry Seinfeld in his stand-up comedy special from 1987 discussing laundry commercials: “Now [the companies] show you how detergents get out blood stains on television. Pretty violent image there. Think if you got a t-shirt with blood stains all over it, maybe laundry isn’t your biggest problem right now. Maybe you oughta get rid of the body before you do the wash.” He asks the important question of why are people worrying about things like getting blood stains out of shirts when there are likely bigger problems? Of course there are people who get little blood stains on their clothes and need to get them out, but Seinfeld takes it to another level for comedic reasons. Sebastian Maniscalco also mocks air travel, but unlike Carlin, he makes fun of the check-in process more than actually traveling. In his special “Aren’t You Embarrassed?” from Chicago, he says, talking about how an airplane company handles overweight luggage:
“[The bag] is so heavy, you put it up there. And you do that soft release, like that’s going to take weight off the bag. And [the worker’s] mood changes, she’s like ‘Oooh, I’m sorry. Your bag is two pounds over. You’re going to have to take two pounds out of your bag.’ Now like an idiot, I’ve got to open up my bag in front of 187 people. I don’t know what two pounds is. I’m taking out a boot, a sock, toothpaste. Is this two pounds? Does anybody know what two pounds is? They’re going to charge me an extra 8,000 dollars. You think the boot’s a half a pound? I go ‘Where do you want me to put this?’ She said ‘Put that in your carry on.’ I said ‘It’s still going on the plane. What does it matter if it’s on top or underneath? The guy behind me is 500 pounds, that doesn’t matter? My sock is going to take the plane into the Pacific, but you prepared for this type of weight?’”
Stand-up comedy continues to evolve today as a result of the the different and innovative styles used by comedians in the past. While today’s most popular comedians began their respective careers in a similar manner to those from the past, in nightclubs and as emcees, a more open and tolerant society has provided for the rising popularity of woman comedians in a profession formerly dominated by men. The rise of women comedians has allowed for even more Americans to appreciate the talents of stand-up comedy routines. Women comedians such as Amy Schumer, Tina Fey, and Sarah Silverman have used similar routines to their male counterparts, mocking a demographic that was previously “un-mocked” by comedians. In introducing issues related to feminism, women comedians have gained popularity at an unparalleled rate and will continue to open the doors for other comedians representing populations that have been previously scrutinized or limited that include those who mock LGBT populations. The increasing popularity of stand-up comedy is premised on pushing the envelope even more that originators Carlin and Bruce did. “Today’s generation expects comedians to push the envelope and get people to think, but it hasn’t always been that way,” says Zolten, associate professor of Communication Arts & Sciences and American Studies at Penn State Altoona.(https://news.psu.edu/story/141330/2008/09/12/research/probing-question-what-are-roots-stand-comedy) Undoubtedly, women comedians have taken the baton and continued to push the envelope of good taste even further, setting the stage for an entire new group of comedians willing to mock their own demographics, similar to those early Court jesters and American humorists who used their own brands of stand-up comedy to entertain the masses.