Posts Tagged ‘comedy’
“It’s about nothing”*…
Seinfeld, which originally aired on NBC from July 5, 1989, to May 14, 1998 (for a total of 180 episodes over nine seasons) ruled the airwaves during the 90s. Its reign continued, first in syndication, then streaming, and hold sway to this day. The series won all of the major awards for which it was eligible (a few, several times over) and is universally regarded as one of the greatest and most influential American shows of all time. Quotes from several of its episodes have become catchphrases in popular culture.
Most of us know Seinfeld, but not all of us… and even those if us who do, have more to learn. Andy Kirk is here to help…
I was intrigued by the possibilities of mixing work with pleasure: visually exploring a sitcom through its data.
Intrigued became compelled. I wanted to explore how Seinfeld and David, with the support of their evolving pool of talented writers, managed to achieve such sustained sitcom brilliance. Much like a sports coach seeks to assemble the right players in the right combinations, to win a game, how did the Seinfeld ‘coaching team’ use their resources to assemble the right characters in the right scenes, in order to score the laughs and create TV gold?
And so began a self-motivated, long-running, entirely unnecessary, data-driven exploration of every episode of Seinfeld.
The first product of this work was my 2020 publishing of The Seinfeld Chronicles, a limited-edition printed book presenting all my extensive analysis. With 176 copies released, matching the number of written episodes, this reached a small but exclusive, passionate, and generous audience.
A few years later, I decided it was time to revisit this work and develop a new format that could reach a wider audience…
A trove of insight into a epoch-defining sit-com and a glorious example of data visualization: “The Seinfeld Chronicles: Digital Edition,” from @visualisingdata.com.
* George explaining the premise of the show he and Jerry are trying to pitch to NBC
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As we codify comedy, we might recall (on this, National Junk Food Day) that it was on this date in 1988 that The New York Yankees traded Jay Buhner (along with minor leaguers Rich Balabon and Troy Evers) to the Seattle Mariners in exchange for 33-year-old first basemen and designated hitter Ken Phelps– widely considered one of the most lopsided deals in MLB history. While Phelps had a brief, productive stint in New York before being traded again, Buhner became a fan favorite and a legend in Seattle. Over his 14 seasons with the Mariners, he hit 310 home runs and was a key piece of the team that reached the ALCS in 1995, 1997, and 2000. He was inducted into the Seattle Mariners Hall of Fame in 2004.
In Seinfeld‘s seventh season episode “The Caddy,” Yankee’s owner George Steinbrenner (voiced by Larry David) visits George’s parents to (mistakenly) inform them that their son is dead. While George’s mother tears up, George’s father Frank (Jerry Stiller) responds…
“Mr. Hackett turned the corner and saw, in the failing light, at some distance, his seat”*…
Michael Wolf is an award-winning and widely-exhibited photographer famous for his documentation of big city architecture and life around the world, but especially in Hong Kong… Consider this series…
Much more at “Informal Seating Arrangements in Hong Kong” and more of Wolf’s other wonderful work on his site.
* Samuel Beckett, Watt
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As we grab a chair, we might keep our focus on Hong Kong: it was on this date in 1978 that Snake in Eagle’s Shadow was released. A Hong Kong martial arts action comedy film, it was the debut of director Yuen Woo-ping, and the breakthrough outing for its stars, Jackie Chan, Hwang Jang-lee, and (Yuen Woo-ping’s real life father) Yuen Siu-tien.
The film is the story of Chien Fu (Jackie Chan), an orphan who is bullied at a kung fu school, but meets an old beggar, Pai Cheng-tien (Yuen Siu-tien), who becomes his sifu (teacher) and trains him in Snake Kung Fu. The film established Chan’s slapstick kung fu comedy style– which he further developed with Drunken Master, also directed by Yuen Woo-ping, released in the same year, and also starring Jackie Chan, Hwang Jang-lee and Yuen Siu-tien. Snake in Eagle’s Shadow (and Drunken Master) established the basic plot structure used in many, many martial arts films internationally since then.
“Where’s the beef?”*…
There’s been some consternation over the FDA’s new food pyramid, with nutritionists arguing that, while the emphasis on “whole foods” (as opposed to processed) is a plus, the guidance overstresses satured-fat-rich foods and under-recommends gut-healthy fermented foods, and beans and grains (see also here).
There could be material economic costs as well. The Federal goverment already spends over $72 Billion subsidizing livestock— not counting the reduced cost grazing permits offered ranchers on Federal land. And as ranch and farm land ownership has become more and more concentrated in fewer and fwer hands, the benifits are flowing to fewer, wealthier “ranchers” (like Bill Gates, Warren Buffett, Jeff Bezos, a clutch of large corporations, and foreign investors).
Then there are the environmental implications. Oliver Milman ponders the potential scale of that impact if the new pyramid is followed…
The Trump administration’s new dietary guidelines urging Americans to eat far more meat and dairy products will, if followed, come at a major cost to the planet via huge swathes of habitat razed for farmland and millions of tons of extra planet-heating emissions.
A new inverted food pyramid recently released by Donald Trump’s health department emphasizes pictures of steak, poultry, ground beef and whole milk, alongside fruits and vegetables, as the most important foods to eat.
The new guidelines are designed to nearly double the amount of protein currently consumed by Americans. “Protein and healthy fats are essential and were wrongly discouraged in prior dietary guidelines,” said Robert F Kennedy Jr, the US health secretary. “We are ending the war on saturated fats.”
But a surge in meat-eating by Americans would involve flattening vast tracts of ecosystems such as forests to make way for the hefty environmental hoofprint of raised livestock, emitting large quantities of greenhouse gases in the process, experts have warned.
Even a 25% increase in the amount of protein consumed in this way in the US would require about 100m acres of additional agricultural land each year, an area about the size of California, and add hundreds of millions of tons of extra pollution to an already overheating planet, according to an estimate by the World Resources Institute (WRI), a non-profit research body.
“We are seeing millions of acres of forest cut down and agricultural expansion is the lead driver of that – adding 100m acres to that to feed the US means additional pressure on the world’s remaining ecosystems,” said Richard Waite, the director of agriculture initiatives at WRI.
“It’s already hard to feed the global population while reducing emissions and stopping deforestation, and a shift in this direction would make the challenge even harder. We need to reduce the impact of our food systems urgently and the US is an important piece of the puzzle in doing that.”
While many Americans will simply ignore the guidelines, the new framework will probably influence institutions such as schools and federal workplaces. The average American already eats about 144kg (317lb) of meat and seafood a year, second globally only to Portugal, and ingests more protein than previous federal government guidelines recommended.
Any further increase will be felt in places such as the Amazon rainforest, which is already being felled at a rapid rate for cattle ranches and to grow livestock feed.
Red meat, in particular, has an outsized impact upon the planet – beef requires 20 times more land and emits 20 times more greenhouse gas emissions per gram of protein than common plant proteins, such as beans. The raising of cows, pigs, lamb and other animals for slaughter is also associated with significant localized air and water pollution.
“To the extent that people follow these guidelines and eat more animal protein foods, particularly beef and dairy, they will negatively impact our environment, since the production of these foods emits way more greenhouse gases than vegetable protein foods, or even other animal foods,” said Diego Rose, a director of nutrition at Tulane University.
Choosing beef over beans and lentils is “a big choice we make that has real consequences”, said Waite. “If people want more protein there are ways to do that via eating plant-based foods without the environmental impacts. We can have our protein and our forests, too.”
Animal agriculture is responsible for about a fifth of global emissions, with little progress made in recent years to reduce its impact as more of the world starts to demand meat products. Worldwide consumption of pork, beef, poultry and meat is projected to reach over 500m tonnes by 2050 –double what it was in 2000.
In the US, much of this meat-eating is concentrated in a relatively small group of avid carnivores – just 12% of Americans consume nearly half of the country’s beef, a 2024 study found. But plant-based options, including “fake meat” burgers, have suffered a slump in sales in recent years amid a resurgent trend in meat-eating, fueled by online “meatfluencers” and a broader desire to consume more protein.
The environmental problems associated with the meat industry were previously highlighted by Kennedy himself, when he was a campaigner on green issues. At one point, Kennedy even said the pork industry was an even bigger threat to the US than Osama bin Laden, the terrorist mastermind.
“The factory meat industry has polluted thousands of miles of America’s rivers, killed billions of fish, pushed tens of thousands of family farmers off their land, sickened and killed thousands of US citizens, and treated millions of farm animals with unspeakable and unnecessary cruelty,” Kennedy wrote in 2004.
However, since becoming Trump’s health secretary, Kennedy has sought to elevate meat-eating, dismissing an independent scientific committee’s advice to emphasize plant-based proteins to instead favor meat.
“The Trump administration will no longer weaponize federal food policy to destroy the livelihoods of hard-working American ranchers and protein producers under the radical dogma of the Green New Scam,” a spokesperson for the Department of Health and Human Services said in response to questions about the knock-on environmental impacts of the new guidelines.
“Americans already eat a lot of meat, so this promotion of more meat and things like beef tallow is puzzling to me,” said Benjamin Goldstein, a researcher at the University of Michigan who has studied the huge emissions associated with meat-eating by city-dwellers in the US.
“We needed to be addressing climate change two decades ago and we are still not doing enough now. If we are adding more greenhouse gases to impose unnecessary ideas of protein intake, that’s going to destabilize the climate further. It’s going to have a big impact.”…
Even 25% increase in meat and dairy consumption would require 100m more acres of agricultural land: “Huge amounts of extra land needed for RFK Jr’s meat-heavy diet guidelines,” from @olliemilman.bsky.social in @theguardian.com.
* Wendy’s advertising tagline (from 1984)
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As we deconstruct diet, we might send bibulous birthday greetings to William Claude Dukenfield; he was born on this date in 1880. Better known by his stage name, W.C. Fields, an actor, comedian, juggler, and writer, became a vaudeville headliner, “the world’s greatest juggler” [which he may have been], then transitioned to Broadway (e.g., the Ziegfeld Follies revue and Poppy, wherein he perfected his persona as a colorful small-time con man) and began appearing in silent films. In the 1930s, Fields wrote and starred in a series of successful short films for (his golf buddy) Mack Sennett, then appeared in 13 feature films for Paramount. An illness sidelined him in the late 30s, but he roared back in the early 40s with Universal classics like My Little Chickadee, The Bank Dick, and Never Give a Sucker an Even Break.
Now widely regarded one of the comic geniuses of the 20th century, the Surrealists loved Fields’ absurdism and anarchistic pranks. Max Ernst painted a Project for a Monument to W. C. Fields (1957), and René Magritte made an Homage to Mack Sennett (1934).
The Firesign Theatre titled the second track of their 1968 album Waiting for the Electrician or Someone Like Him “W. C. Fields Forever,” a riff on the Beatles song “Strawberry Fields Forever.”
“I personally stay away from natural foods. At my age I need all the preservatives I can get.”
– W. C. Fields
“Metaphors and similes (puns, too, I might add) extend the dimensions and expand the possibilities of the world”*…
A. J. Jacobs, in defense of “the lowest form of humor“…
… I used to hate puns. Here’s an anti-pun passage from my first book, The Know-It-All – it occurs when I’m describing my trip to a Mensa convention (that’s the high IQ society).
Mensans love puns. I heard about how the eating of frogs’ legs makes the frogs hopping mad. A person who is interested in architecture has an edifice complex. When I met one Mensan who worked in a photo shop, he told me “It gives me a very negative outlook on life.”
“I shudder to think,” I responded, which simultaneously earned his respect and made me hate myself a lot.
Two reactions on re-reading this passage:
First, a photo shop? Things have certainly changed in twenty-plus years.
Second, maybe I shouldn’t have had so much self-loathing (and maybe I should have gone with the sentence “Things have certainly developed in twenty-plus years).
The point is, since writing my first book, I’ve made a U-turn on puns, or at least non-obvious twisty puns. I don’t consider myself a great punster. I’m no Myq Kaplan. But in recent years, I’ve improved a bit (or gotten worse, depending on your view of puns).
One reason for my newfound respect for puns is that I host a podcast all about word puzzles, which wouldn’t really exist without puns. Another is that my wife Julie is president of Watson Adventures Scavenger Hunts, a company that puts on events where teams work together to solve punny riddles (and have a delightful time doing it!)
But I like to tell myself that another reason I’m now pro-pun is that I had an epiphany: Puns serve a greater purpose. They make us more aware of something important about language: That it is often arbitrary, slippery, and ambiguous.
I believe my interest in puns has helped me become more linguistically aware, a more flexible thinker. Whenever I read the news nowadays, I’m hyper-conscious of the different meanings of words, which makes me more skeptical of people who try to manipulate language to make their point.
Consider the word “free” as an example. “Free” has multiple definitions. Mostly, it’s got a positive aura to it. So when you say “free market,” for instance, you’re immediately disposed to like a free market. But if a market is totally “free” in this sense—zero government regulations whatsoever—it may cause the opposite of freedom in other ways: monopolies thrive, customers lack freedom of choice, and workers lack freedom to negotiate.
Do I have proof that puns make us better thinkers? Sadly, there’s no decades-long study in which a pun-loving population and a pun-hating population create two societies from scratch, allowing us to study which is more susceptible to propaganda and authoritarianism.
But if you conduct a Google Scholar search, you can find some hints that back up my idea. Such as…
—A study in the journal Personality and Individual Differences argues that pun-based humor “not only facilitates insight problem-solving directly, but may also exert an indirect positive influence on insight problem-solving through cognitive flexibility.”
—A neuroscience paper arguing that puns ignite the same areas of the brain as frame-shifting, which is key for problem-solving.
—A paper linking awareness of ambiguous words with critical thinking.
So…maybe?
Puns, of course, have their downsides. First, I’ve been in conversations with people who are so focused on making puns that they can’t engage in meaningful dialogue.
Some argue, as Samuel Johnson allegedly did, that puns are a “lower form of wit.” (It’s not clear he said this, but he did once write that Shakespeare’s weakness for following puns “engulfed him in the mire.” Johnson later — allegedly, again — confessed to his own pun use, saying: “If I were to be punishèd for every pun I shed, there would be no puny shed of my punnish head.”)
Also in puns’ disfavor: people often refer to puns as “groaners.” But I’d argue not all puns are groaners. Only the easy ones. If someone on a tennis court complains about losing his balls and his friend replies with a comment about testicles, I don’t think the friend should automatically be awarded the Mark Twain Prize for American Humor.
On the other side of the spectrum, there are the puns so complex and intricate that they require mental gymnastics of a Simone Biles-ian level.
Perhaps the most elaborate pun I’ve run across is by Thomas Pynchon. In his novel Gravity’s Rainbow, Pynchon relates a story about the classic film director Cecille B. DeMille, a fleet of rowboats, and a bunch of criminals in the fur trade. Does this story advance the novel’s plot? Not at all, but it allowed Pynchon to write the following sentence at the end of the section:
“For DeMille, young fur henchman cannot be rowing.”
Get it? I didn’t. But when I looked it up, it turns out to be an elaborate pun on the phrase “40 million Frenchmen can’t be wrong,” which was a 1920s phrase arguing that France’s pro-alcohol, sex-positive attitudes were superior to America’s puritanism.
Perhaps you could accuse Pynchon of making too great a leap — that it’s no fun if there’s so little chance of figuring the pun out. But I still appreciate the effort.
I also appreciate when puns are pushed to their limit in another direction – namely, a relentless barrage of puns. In fact, I’ll end with my friend (and new dad!) Joe Sabia’s award-winning pun routine in the O. Henry Museum Pun-Off World Championships a few years back…
“Can Puns Save Democracy? Probably not. But maybe a little?“
See also: “Pun for the Ages” (gift article, and source of te image above)
And for contrast(?), enjoy: “A Collection of Terrible Puns.”
* “Metaphors and similes (puns, too, I might add) extend the dimensions and expand the possibilities of the world. When both innovative and relevant, they can wake up a reader, make him or her aware, through elasticity of verbiage, that reality—in our daily lives as well as in our stories—is less prescribed than tradition has led us to believe.” Tom Robbins, Wild Ducks Flying Backwards
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As we double down on doble entendre, we might send painfully-observant birthday greetings to a man in whose repertoire puns sometimes figured, Lenny Bruce; he was born on this date in 1925. A comedian, social critic, and satirist, he was ranked (in a 2017 Roling Stone poll) the third best stand-up comic of all time– behind Richard Pryor and George Carlin, both of whom credit Bruce as an influence.
“The American Constitution was not written to protect criminals; it was written to protect the government from becoming criminals.”- Lenny Bruce
“If vaudeville had died, television was the box they put it in”*…
Perhaps… but as Laurie Winer explains in an excerpt from her Oscar Hammerstein II and the Invention of the Musical, at a time when immigrants were pouring into the United States from Eastern and Southern Europe, the vaudeville circuit became a venue for the expression of those arriving cultures– and ultimately gave us so much more…
The term ‘melting pot’ comes from the theater — it was popularized by a 1908 drama with that title about a Russian composer who loses his family in the 1903 Bessarabia pogroms, emigrates to America, and falls in love with the daughter of the officer responsible for his family’s murder. Such was the compression of migrants in the first decades of the new century. In fact, about fifteen million eastern and southern Europeans arrived in the United States between 1900 and 1915. In 1907 Ellis Island received its highest number of immigrants in a single year, processing more than one million arrivals. In the public sphere, all these cultures introduced themselves on the stages and in the audiences of vaudeville, the American equivalent of the British music hall.
Willie Hammerstein managed the country’s premiere vaudeville house from 1904 until 1913, so his son Oscar II grew up at the epicenter of a cultural mashup unlike anything that had come before. In an oral history he recorded for Columbia University, Oscar remembered going to his father’s theater, the Victoria, every Sunday, where the performers taught him everything he needed to know about comedy and pacing.
Ticket prices were low and audiences comprised many nationalities. Since a good number of performers and spectators alike had escaped famine or pogroms or the social rigidity of the Old World, their evenings together at the theater were fueled by a giddy sense of possibility, both for themselves and for their new country. For instance, ‘It Isn’t What You Used to Be, It’s What You Are Today’ was a staple song for comedian Al Shean, born Abraham Adolph Schönberg in Germany in 1868.
From the 1880s to the early 1930s, peaking from 1905 to 1915, vaudeville presented a unique parade of cultures. Here is where theater became integral to constructing a multihued American identity, a space to figure out who we were and who we wanted to become. A dictionary defines vaudeville as ‘a comedy without psychological or moral intentions,’ and it was this very insignificance that lent the form its power.
With political correctness a concept far in the future, ethnic stereotyping was the entire point of acts like ‘Harry Harvey, the Quaint Hebrew Comedian,’ ‘The Original Wop,’ ‘The Wop and the Cop,’ ‘9 Orientals 9,’ ‘Two Funny Sauerkrauts,’ and ‘The Sport and the Jew.’ Al Shean’s sister Minnie managed and sometimes acted with her five sons, later known as the Marx Brothers, who presented several nationalities in one family. Their first stab at ethnic comedy was an act from 1911 or 1912 called ‘Fun in Hi Skule’: Groucho, playing a thickly accented German teacher, tried, and failed, to control his students, including Harpo (representing the Irish in a bright red wig), Gummo (with a Yiddish accent), and Paul Yale, who played a gay man with a limp wrist. (Chico, who would play the Italian, had not yet joined the act.) Groucho remembered the skit as a big hit, evoking lots of laughter.
In 1905, journalist Hartley Davis wrote an appreciation of vaudeville in Everybody’s Magazine, declaring it to be the ‘most significant development in American amusements of the last decade’:
There is a cheerful frivolity in vaudeville which makes it appeal to more people of widely divergent interests than does any other form of entertainment. It represents the almost universal longing for laughter, for melody, for color, for action, for wonder-provoking things. It exacts no intellectual activity on the part of those who gather to enjoy it; in its essence it is an enemy to responsibility, to worries, to all the little ills of life. It is joyously, frankly absurd …. Vaudeville brings home to us the fact that we are children of a larger growth. It supports the sour Schopenhauer theory — one of those misleading part truths — that life consists in trying to step aside to escape the immediate trouble that menaces us.
Later, when the musical evolved to embrace virtually any subject that could be broached by a play or novel, it kept something of this cheerful frivolity. Even tragic and historically illuminating musicals, like The Scottsboro Boys (2010) or Shuffle Along (2016), employ the percussive delights of tap or the offhand elegance of a hat-and-cane number, if only to emphasize the cruel distance between representation and reality. That these songs are performed on the very stages that hosted legends like George M. Cohan and the Nicholas Brothers adds a visceral link between the past and present.
An era’s popular culture can tell us more than its high art, though critics at the time often have trouble seeing it. About vaudeville, most contemporary commentators sniffed. For instance, critic and playwright Channing Pollock wrote in 1911 that vaudeville ‘addresses itself to amusement seekers incapable of giving, or unwilling to give, concentrated or continuous attention.’ For his part, J. Brooks Atkinson of the New York Times enjoyed the Yiddish-accented vaudevillians Potash and Perlmutter’s 1926 play Abe and Mawruss (God Forbid!), but allowed that the act ‘makes no pretense to mental clarity.’ Audiences, less exacting, showed up to absorb the jabs and jokes, and the country expanded itself nightly in their laughter. In this way vaudeville provided context and backstory to the progressive nature of American theater and its playwrights, from Eugene O’Neill to August Wilson, Tony Kushner, Anna Deavere Smith, and Lin-Manuel Miranda.
In Willie’s day, a typical vaudeville bill consisted of nine acts, the order of which spilled over into the Broadway musical of the 1920s. First up was a ‘dumb act,’ mimes or dancers or animals, so that latecomers would not annoy fellow audience members too much, just as, on Broadway, the introductory song was a throwaway having little to do with story, such as it was. The biggest names-acts like Will Rogers, the Three Keatons, or Mrs. Patrick Campbell — took either the third slot or the penultimate place, just as, on Broadway, songwriters reserved their most rousing treat, known as ‘the eleven o’clock number,’ for second to last. And the evening ended with something graceful or otherworldly, like an equestrian or trapeze artist, an act that sent the audience out into the night feeling buoyant or revived…
On one of the under-appreciated gifts that immigrants have given America: Vaudeville, from @lauriewiner.bsky.social via @delanceyplace.
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As we tread the boards, we might send entertaining bitrthday greetings to George M. Cohan; he was born on this date in 1878. A playwright, composer, lyricist, actor, singer, dancer and theatrical producer, wrote more than 50 shows and published more than 300 songs during his lifetime, including the standards “Over There,” “Give My Regards to Broadway'” “The Yankee Doodle Boy” [AKA “(I’m a) Yankee Doodle Dandy”], and “You’re a Grand Old Flag.”
Known in the decade before World War I as “the man who owned Broadway,” Cohan is considered (with Oscar Hammerstein II) one of the fathers of American musical comedy. He got his start performing with his parents and sister in a vaudeville act known as “The Four Cohans.”












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