Two titans of comÂeÂdy passed away this weekÂend, but the deaths of Dick GreÂgoÂry and JerÂry Lewis have seemed like culÂturÂal footÂnotes amidst some of the most anxÂious, angry few days in recent U.S. hisÂtoÂry. GreÂgoÂry and Lewis are stars of a bygone era, maybe two full genÂerÂaÂtions behind conÂtemÂpoÂrary popÂuÂlar relÂeÂvance. And yet, in many ways, the mid-20th cenÂtuÂry world where both men got their start feels closÂer than ever.
Both GreÂgoÂry and Lewis once wieldÂed conÂsidÂerÂable powÂer in the enterÂtainÂment indusÂtry and in their othÂer choÂsen spheres of influence—the civÂil rights moveÂment and charÂiÂtaÂble givÂing, respecÂtiveÂly. In nearÂly every othÂer respect, the two could not have been more difÂferÂent.
GreÂgoÂry broke into mainÂstream sucÂcess with a new wave of black comics like Bill CosÂby and Richard PryÂor, and like PryÂor, he did so by telling painful truths about racism that many white AmerÂiÂcans laughed about but were unwillÂing to honÂestÂly conÂfront or change. You can hear an earÂly examÂple in the rouÂtine above, from his 1962 album Dick GreÂgoÂry Talks Turkey.
GreÂgoÂry got his big break in 1961 when he seized the moment in a tryÂout at Hugh Hefner’s ChicaÂgo PlayÂboy Club. As he latÂer told CBS SunÂday MornÂing, “I pushed that white boy out of the way and ran up there…. Two hours latÂer, they called HefnÂer. And HefnÂer came by and they went out of their mind.” That same year, he made his first nationÂal TV appearÂance. See it at 15:16 in the docÂuÂmenÂtary Walk in My Shoes just above, which also feaÂtures MalÂcolm X and ConÂgress for Racial EqualÂiÂty (CORE) founder James Farmer.
In the playlist below, you can hear three full GreÂgoÂry comÂeÂdy recordÂings, LivÂing Black & White (1961), East & West (1961), and an interÂview album, Dick GreÂgoÂry on ComÂeÂdy. ThroughÂout his career, GreÂgoÂry was an uncomÂproÂmisÂing civÂil rights activist who was beatÂen and arrestÂed in the sixÂties at marchÂes and protests. He was at the 1963 March on WashÂingÂton, faced down the Klan to help inteÂgrate restauÂrants, and fastÂed to protest the VietÂnam War. In a review of his provocaÂtiveÂly-titled autoÂbiÂogÂraÂphy, The New York Times described him as “a man who deeply wants a world withÂout malÂice and hate and is doing someÂthing about it.”
He also did someÂthing about it in comÂeÂdy. When Jack Paar’s proÂducÂer called him to appear on the show, GreÂgoÂry hung up on him. Then Paar himÂself called, and GreÂgoÂry told him he wouldn’t come on unless he could sit on the couch, a privÂiÂlege affordÂed white comics and denied their black counÂterÂparts. Paar agreed. “It was sitÂting on the couch,” he said, “that made my salary grow in three weeks from $250 workÂing sevÂen days a week to $5,000 a night.” For the next sevÂerÂal decades, he leverÂaged his wealth and fame for humanÂiÂtarÂiÂan and civÂil rights causÂes, and even a run for mayÂor of ChicaÂgo in 1967 and a popÂuÂlar write-in presÂiÂdenÂtial camÂpaign in the 1968 elecÂtion. He died at 84 a venÂerÂatÂed elder statesÂman of stand-up comÂeÂdy and of the CivÂil Rights MoveÂment.
JerÂry Lewis’s legaÂcy is much more comÂpliÂcatÂed, and serves in many ways as a “cauÂtionÂary tale,” as Nick GilleÂspie puts it, for the hubris of celebriÂty. Lewis broke through in the 50s as the aniÂmatÂed, rubÂbery comÂic foil to Dean Martin’s suave straight man in the hugeÂly famous comÂeÂdy duo of MarÂtin & Lewis. See them above do a standup rouÂtine in 1952 on their ColÂgate ComÂeÂdy Hour, with an introÂducÂtion (and interÂvenÂtion) from Bob Hope. The act was a pheÂnomÂeÂnon. “ComÂing from litÂerÂalÂly nowhere,” writes Shawn Levy at The Guardian, “the pair rode a skyÂrockÂetÂing 10-year career that made them staÂples of AmerÂiÂcan showÂbiz for the rest of their lives…. They met when they were just two guys scufÂfling for a break in Times Square, and they helped forge a new brand of popÂuÂlar enterÂtainÂment suitÂed to the postÂwar mood.”
In the same year as the broadÂcast furÂther up, Lewis made his first appearÂance, with MarÂtin and JackÂie GleaÂson, on the MusÂcuÂlar DysÂtroÂphy AssoÂciÂaÂtions of AmerÂiÂca (MDAA) telethon. Just above, see them do a bit while the familÂiar banks of operÂaÂtors stand by behind them. Lewis began hostÂing his own MDAA telethon in 1966 and did so until 2010, raisÂing bilÂlions for the orgaÂniÂzaÂtion, which rememÂbers him as a “ComÂic genius. CulÂturÂal icon. HumanÂiÂtarÂiÂan.” Many disÂabilÂiÂty activists feel othÂerÂwise, includÂing many forÂmer “Jerry’s Kids,” his “pet name,” writes GilleÂspie, for the poster chilÂdren he recruitÂed to repÂreÂsent the MD comÂmuÂniÂty on the telethon and relatÂed advoÂcaÂcy mateÂriÂals. “The telethon was wideÂly parÂoÂdied,” and Lewis’s efforts have been seen by many activists and proÂtesÂtors as self-servÂing, perÂpetÂuÂatÂing harmÂful, demeanÂing attiÂtudes and encourÂagÂing pity for MD sufÂferÂers rather than accepÂtance and social equalÂiÂty.
As a movie star, Lewis often played an all-AmerÂiÂcan dooÂfus whose physÂiÂcal antics and stamÂmerÂing, boyÂish perÂsona endeared him to audiÂences (see above, for examÂple, from 1952’s Sailor Beware). As a direcÂtor, he made tightÂly choreÂoÂgraphed madÂcap comeÂdies. He also tradÂed in offenÂsive stereoÂtypes, parÂticÂiÂpatÂing in an ugly HolÂlyÂwood traÂdiÂtion that emerged from anti-ChiÂnese bigÂotry of the 19th cenÂtuÂry and anti-JapanÂese World War II proÂpaÂganÂda. (Lewis was unflatÂterÂingÂly rememÂbered in The Japan Times as the “king of low-brow comÂeÂdy… forÂevÂer squealÂing, griÂmacÂing and flailÂing his way” through varÂiÂous roles.) He introÂduced Asian carÂiÂcaÂtures into his act in the MarÂtin & Lewis days (see below) and reprised the shtick in his critÂiÂcalÂly-loathed 1980 film HardÂly WorkÂing, in which, writes Paul MacoÂvÂaz at SensÂes of CinÂeÂma, he “realÂizes an offenÂsive, proÂfoundÂly racist yelÂlow-face sashiÂmi chef.”
“I imagÂine that most viewÂers will be trouÂbled by it,” MacoÂvÂaz comÂments, “wrenched visÂcerÂalÂly from their enjoyÂment of the Lewisian idiot and pressed squirmÂing into the overdeÂterÂmined conÂcepÂtuÂal narÂraÂtive zone of AmerÂiÂcan OriÂenÂtalÂism.” Those viewÂers who know anothÂer of Lewis’s latÂer-career disÂasÂters will recÂogÂnize anothÂer awkÂward charÂacÂter in HardÂly WorkÂing, the sad-faced clown of 1972’s disÂasÂtrous The Day the Clown Died, a film so ill-advised and badÂly exeÂcutÂed that Lewis nevÂer allowed it to be released. (Just below, see a short docÂuÂmenÂtary on the abortive effort.) In the movie, as comÂeÂdy writer Bruce Handy notÂed in a 1992 Spy magÂaÂzine artiÂcle, the comeÂdiÂan plays “an unhapÂpy GerÂman cirÂcus clown… sent to a conÂcenÂtraÂtion camp and forced to become a sort of genoÂciÂdal Pied Piper, enterÂtainÂing JewÂish chilÂdren as he leads them to the gas chamÂbers.” Meant to be his first “seriÂous,” draÂmatÂic role, the largeÂly unseen film now stands as an archeÂtypÂal epitÂoÂme of poor taste—an artisÂtic failÂure that Mel Brooks might have dreamed up as a sick joke.
As GilleÂspie points out, Lewis’s last years saw him threatÂenÂing to punch LindÂsay Lohan and telling refugees to “stay where the hell they are.” Long past the time most peoÂple wantÂed to hear them, he perÂsistÂed in makÂing “racist and misogÂyÂnisÂtic jokes” and gave “the most painfulÂly awkÂward interÂview of 2016” to the HolÂlyÂwood Reporter. He became well-known for verÂbalÂly abusÂing his audiÂences. The runÂning joke that Lewis was beloved by the French, which “only made him less respectable in his home counÂtry,” may have been run into the ground. But in the latÂter half of his career, it sums up how much AmerÂiÂcan comedians—even those like Steve MarÂtin, Robin Williams, Jim CarÂrey, and Eddie MurÂphy, who were clearÂly influÂenced by his manÂic humor—were often unwillÂing to make too much of the debt. But lookÂing back at his 1950s dada zaniÂness and at films like The NutÂty ProÂfesÂsor, it’s imposÂsiÂble to deny his conÂtriÂbuÂtions to 20th cenÂtuÂry comÂeÂdy and even a cerÂtain brand of absurÂdist 21st cenÂtuÂry humor.
RelatÂed ConÂtent:
Hear 30 of the GreatÂest Standup ComÂeÂdy Albums: A Playlist ChoÂsen by Open CulÂture ReadÂers
Chris Rock CreÂates a List of His 13 Favorite Standup ComÂeÂdy SpeÂcials
Bill Hicks’ 12 PrinÂciÂples of ComÂeÂdy
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
You’ve got JerÂry Lewis mixed up with Fred MacÂMurÂray. Fred MacÂMurÂray made a film called “The Absent MindÂed ProÂfesÂsor” for Walt DisÂney. It feaÂtured a comÂiÂcal subÂstance called FlubÂber. JerÂry Lewis made a movie called “The NutÂty ProÂfesÂsor”, a kind of JeckÂyll and Hyde stoÂry. There is no movie called “FlubÂber”.
I do indeed, thanks! CorÂrectÂed.…
And yet JerÂry was super popÂuÂlar in Japan too , even made a film set there (Geisha Boy) with japanÂese actors and Jim CarÂry just wrote a loveÂly artiÂcle about his affect on him in the Time, while the othÂers MarÂtin , Williams,Seinfeld etc. visÂitÂed the telethon and have openÂly spoÂken about his legaÂcy already when he was alive (and have appeared in many docÂuÂmenÂtaries about JerÂry praisÂing him). For those who went to JerÂry’s shows the part where he took quesÂtions from the audiÂence (described here as abusÂing) was often the highÂlight of the show, just like getÂting insultÂed by Don RickÂles would have been. Just anothÂer view point here. Thank you for writÂing about both of them
ActuÂalÂly there is a movie called flubÂber. It stars the late Robin Williams.