Posts Tagged ‘Lenny Bruce’
“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
“The circus comes as close to being the world in microcosm as anything I know; in a way, it puts all the rest of show business in the shade.”*…
Come one, come all!…
While circus acts go back to the midst of time, the circus as commercial entertainment dates to the opening decades of the nineteenth century. In Victorian England, the circus appealed across an otherwise class-divided society, its audiences ranging from poor peddlers to prestigious public figures. The acts that attracted such audiences included reenacted battle scenes, which reinforced patriotic identity; exotic animal displays that demonstrated the reach of Britain’s growing empire; female acrobatics, which disclosed anxieties about women’s changing role in the public sphere; and clowning, which spoke to popular understandings of these poor players’ melancholy lives on the margins of society.
The proprietor and showman George Sanger (from whose collection the following photographs come) was a prime example of how the circus was to evolve from a small fairground-type enterprise to a large-scale exhibition. Sanger’s circuses began in the 1840s and ’50s, but by the 1880s, they had grown to such a scale that they were able to hold their own against the behemoth of P.T. Barnum’s three-ring circus, which arrived in London for the first time in that decade.
Like many circuses in the nineteenth century, Sanger’s was indebted to the technology of modern visual culture to promote his business. Local newspapers displayed photographs alongside advertisements to announce the imminent arrival of a circus troupe. Garish posters, plastered around towns, also featured photographs of their star attractions. And individual artists used photographic portraits, too (in the form of the carte-de-visite or calling card), to draw attention to their attributes and to seek employment. One striking image in this collection [the image above] poses six performing acrobats amid the other acts—a lion tamer, an elephant trainer, a wire walker, and a clown—in one of Sanger’s circuses, all in front of the quintessential big-top tent. Maybe the projection of the collective solidarity of the circus in this image belies personal rivalries and animosities that might have characterized life on the road. Moreover, at the extreme edge of the image, on the right-hand side behind the dog trainer, there appears to be the almost ghostly presence of a Black male figure. By dint of their peripatetic existence, all those employed in the circus were often viewed as marginal and exotic. However, this image is a reminder of how racial and ethnic minorities were a presence within circus culture, even if, as here, they appear to have been banished to the margins of the photograph.
That most democratic of Victorian popular entertainments: photos from the Sanger Circus Collection.
* E. B. White
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As we head for the big top, we might recall that today is International Yada Yada Yada Day. Lenny Bruce is often credited with the first use of “yadda yadda” on the closing track on his 1961 album “Lenny Bruce – American,” though earlier uses are documented in vaudeville. Employed by comedians and TV shows to convey that something unimportant or irrelevant was being elided, it gained vernacular currency when Jerry Seinfeld’s show featured a variation on this phrase as an inside joke between characters Elaine Benes (played by Julia Louis-Dreyfus) and George Costanza (Jason Alexander).
The Yada Yada,” the series’ 153rd episode, focused on just how badly using the phrase can backfire when the details being omitted are actually extremely important– the fact that George’s new girlfriend is actually a kleptomaniac who steals to kill time, or that Jerry’s new girlfriend is both racist and antisemitic. (That episode also introduced the term”anti-dentite.”) Hilarity ensues when both these unwitting men find out what kind of people they have been dating, and must break off the relationships.
In 2009, the Paley Center for Media named “Yada, Yada, Yada” the No. 1 funniest phrase on “TV’s 50 Funniest Phrases.”
Lending you his ear…

From the Van Gogh Museum in Amsterdam, all 902 letters written to and from Vincent Van Gogh. They’re beautifully reproduced, annotated, transcribed, and translated– a rare and precious look at a rare and precious artist.
As we form Impressionistic impressions, we might wonder that two very different public figures were born on this date in 1925.
British Prime Minister Margaret Thatcher, the Iron Lady…
“No-one would remember the Good Samaritan if he’d only had good intentions; he had money as well. “
and terrifyingly insightful comedian Lenny Bruce…








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