By Richard Zoglin
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Jonathan Goldstein concerns. A lot.
A yr sooner than his 40th birthday, and Jonathan isn't the place he thinks he could be. with out spouse, no children, no automobile, and no house—not even a houseboat—what does he have?
Through a chain of splendidly humorous tales, Jonathan recounts the highs and lows of his final yr in his thirties, weighing in on subject matters corresponding to the mysterious McRib, even if an automated hand dryer can inform when you have a soul, and the underestimated energy of a toy poodle. packed with Jonathan's trademark wit, I'll grab the Day the next day to come is the story of 1 man's trip to discover a few nice fact on his street to 40 . . . or even now not.
One in all a chain of comedy/science fiction novels that includes slow-witted detective Frank Burly, by way of John Swartzwelder, the author of fifty nine episodes of The Simpsons.
(Unfortunately, no plot precis to be had wherever i will locate. I'll write one after I've learn it. )
''Do you recognize what the authentic tree of North Dakota is? '' a guy requested lately, sidling as much as an unsuspecting customer in an area tavern. ''No? It's a phone pole. ''
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Additional info for Comedy at the Edge: How Stand-up in the 1970s Changed America
The premise: western movies spend lots of time showing us how the cowboys get ready for an attack, but we never see how the Indians prepare. Carlin then becomes the battle-hardened, New York-accented Indian sergeant, trying to whip the troops into shape: All right, tall guys over by the trees, fat guys down behind the rocks—you with the beads, outta line . . There'll be a massacre tonight at nine o'clock. We'll meet down by the bonfire, dance around a little, and move out. This will be the fourth straight night we've attacked the fort.
This is their story. CHAPTER 1 After Lenny If God made the body and the body is dirty, the fault lies with the manufacturer. —Lenny Bruce The police paddy wagon was a fitting place for two comedy renegades—one under siege for his "obscene" material, the other just along for the ride—to run into each other. Lenny Bruce and George Carlin had met before. Indeed, Bruce had played an important role in the younger comedian's early career. When Carlin was still a radio DJ in Los Angeles, developing a comedy act with his drive-time partner, Jack Burns, Bruce came to see them at a Hollywood coffeehouse called Cosmo Alley and liked them well enough to get his talent agency to sign the team.
Klein, by the end of the '70s, had stopped releasing albums and was doing Broadway. Kaufman, whose performance art stunts were growing more bizarre and self-destructive, died of cancer in 1984. Only Carlin, of the era's major innovators, kept his stand-up career going at full speed into the '80s, '90s, and beyond. Television, meanwhile, was luring away the best and brightest of the younger comics who might have replaced them. Starting in the mid-'70s, when comics like Freddie Prinze and Jimmie Walker became sitcom stars, and accelerating in the 1980s with the success of The Cosby Show, TV producers and network execs began scouring the clubs for comedians whose material and comic persona could be repurposed for prime time.