Lenny Bruce Wiki, Wikipedia, Children, Net Worth, Death, Kill Himself

Lenny Bruce Wiki, Wikipedia, Children, Net Worth, Death, Kill Himself

Lenny Bruce Wiki, Wikipedia, Children, Net Worth, Death, Kill Himself – Lenny Bruce, who was born Leonard Alfred Schneider in Mineola, New York, on October 13, 1925, and died on August 3, 1966, was a highly regarded and contentious American stand-up comedian, author, social critic, and satirist of the 1950s and 1960s. Much of his comedy focused on the taboos and social stigmas of the time he lived in. His obscenity trial conviction in 1964 was followed by the first posthumous pardon in New York state history.

Lenny Bruce Wiki, Wikipedia, Children, Net Worth, Death, Kill Himself
Lenny Bruce Wiki, Wikipedia, Children, Net Worth, Death, Kill Himself

Lenny Bruce Career

Early on in his comedic career, Bruce wrote the screenplays for the comedies Dream Follies (1954), a low-budget burlesque romp, and The Rocket Man (1954), which starred him, his wife Honey Harlow, and his mother Sally Marr. With rants, comedic routines, and satirical interviews on the subjects that made him famous—jazz, moral philosophy, politics, patriotism, religion, law, race, abortion, drugs, the Ku Klux Klan, and Jewishness—he also released four original albums on Berkeley-based Fantasy Records. The Lenny Bruce Originals Volume 1 and Volume 2 were later assembled and re-released in 1991.

Bruce personally produced and distributed two further records, one of which being the 10-inch album Live: San Francisco 1966, which featured the performances from 1961 San Francisco that first brought him his legal issues. Other unreleased Bruce material was made available beginning in the late 1950s through Fantasy, Alan Douglas, Frank Zappa, and Phil Spector. In Enrico Banducci’s North Beach nightclub “The hungry i,” where Mort Sahl had previously established himself, Bruce refined the depth and tone of his material.

His rising prominence led to guest spots on the widely watched Steve Allen Show, where he made his debut with an off-the-cuff remark about Elizabeth Taylor’s recent marriage to Eddie Fisher and the question, “Will Elizabeth Taylor Become Bar Mitzvahed?” He also started getting coverage in the media.

Lenny Bruce Statements

Bruce was referred to as a “fad” and a “once-around freak attraction” by syndicated Broadway columnist Hy Gardner, and Variety branded him “undisciplined and unfunny.” Herb Caen, a well-known columnist from San Francisco, was an early and passionate backer, writing in 1959:

They call Lenny Bruce a sick comic, and sick he is. Sick of all the pretentious phoniness of a generation that makes his vicious humor meaningful. He is a rebel, but not without a cause, for there are shirts that need un-stuffing, egos that need deflating. Sometimes you feel guilty laughing at some of Lenny’s mordant jabs, but that disappears a second later when your inner voice tells you with pleased surprise, ‘but that’s true.’

In the midst of a terrible blizzard, on February 3, 1961, he performed at Carnegie Hall in New York, making him famous. It was recorded, and a three-disc collection titled Carnegie Hall Concert was eventually made available. Albert Goldman, a reviewer, provided the following description in the liner notes:

This was the moment that an obscure yet rapidly rising young comedian named Lenny Bruce chose to give one of the greatest performances of his career. … The performance contained in this album is that of a child of the jazz age. Lenny worshiped the gods of Spontaneity, Candor and Free Association. He fancied himself an oral jazzman. His ideal was to walk out there like Charlie Parker, take that mike in his hand like a horn and blow, blow, blow everything that came into his head just as it came into his head with nothing censored, nothing translated, nothing mediated, until he was pure mind, pure head sending out brainwaves like radio waves into the heads of every man and woman seated in that vast hall. Sending, sending, sending, he would finally reach a point of clairvoyance where he was no longer a performer but rather a medium transmitting messages that just came to him from out there — from recall, fantasy, prophecy. A point at which, like the practitioners of automatic writing, his tongue would outrun his mind and he would be saying things he didn’t plan to say, things that surprised, delighted him, cracked him up — as if he were a spectator at his own performance!

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