Bob Dylan on Lenny Bruce: More of an Outlaw Than You Ever Were
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Digital Commons @ Touro Law Center Scholarly Works Faculty Scholarship 2011 Bob Dylan on Lenny Bruce: More of an Outlaw Than You Ever Were Louise Harmon Touro Law Center, [email protected] Follow this and additional works at: https://digitalcommons.tourolaw.edu/scholarlyworks Part of the First Amendment Commons, Jurisprudence Commons, and the Law and Society Commons Recommended Citation 38 Fordham Urb. L. J. 1287 This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Touro Law Center. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. HARMON_CHRISTENSEN 2/3/2012 4:08 PM BOB DYLAN ON LENNY BRUCE: MORE OF AN OUTLAW THAN YOU EVER WERE Louise Harmon* This Essay seeks to compare and contrast two contemporary per- forming artists: Bob Dylan and Lenny Bruce. An Essay that “com- pares and contrasts” is a traditional academic exercise. The genre may seem artificial, even corny, because it arbitrarily takes two sub- jects and analyzes how they are the same and how they are different. The exercise always yields insights about both, however. For me, comparing and contrasting still has value as a heuristic device. It is also the basis of metaphor. To be “contemporaries” means to be two individuals who are, or were, coexistent in time.1 Contemporaries in any given culture, de- pending upon their geographic location and choice of parents, share common history and social, economic, and political conditions. Bruce and Dylan both became artists in the middle of twentieth-century America—in the same stew of ideas, myths, and shared assumptions. Both experienced the same winds of change, albeit at different stages of life, in the 1950s and 1960s, the post-World War II Cold War pe- riod, the burgeoning civil rights movement, and the Vietnam War. Both responded to these winds of change, and in so doing, tran- scended and transformed their respective art forms. Both became cultural icons: Bruce as a fierce warrior against governmental censor- ship, and Dylan as a symbol of all the myriad meanings that have been laid upon him—the gravely-voiced folksinger, the artist as pro- * Professor of Law, Touro College Jacob D. Fuchsberg Law Center. 1. Contemporary Definition, DICTIONARY.COM, http://dictionary.reference.com/ browse/contemporary (last visited Aug. 8, 2011). Socrates, the Shakyamuni Buddha, Lao-Tzu, and Confucius, for example, were all contemporaries. Some scholars have alleged that Lao Tzu was a somewhat older contemporary of Confucius and that the two men were supposed to have met. See H.G. CREEL, CHINESE THOUGHT: FROM CONFUCIUS TO MAO TSE-TUNG 84 (1953). Others doubt that Lao Tzu, if there was such a person, lived as early as Confucius, and argue that the “celebrated encounter” has been shown to be fictitious. Id. With contemporaries, there is at least a possibili- ty that one would influence the other or that they would enter into some kind of syn- ergistic relationship. 1287 HARMON_CHRISTENSEN 2/3/2012 4:08 PM 1288 FORDHAM URB. L.J. [Vol. XXXVIII testor against war and injustice, the rock-and-roll poet, and the hoary prophet on the road, peddling his songs and his wisdom. Almost a generation apart, both Dylan and Bruce were born of Jewish families; both changed their last names, perhaps to make them more palatable to the mainstream.2 Leonard Schneider was born on Long Island in 1926; the comedian Lenny Bruce died at his home in Hollywood Hills in 1966 from an overdose of morphine.3 Robert Zimmerman was born in Minnesota in 1941;4 the musician and songwriter, Bob Dylan, at the time of this writing, is about to cele- brate his seventieth birthday. Their arrival on the planet’s surface was staggered. The month before Bruce’s death, Bob Dylan had wrecked his Triumph 500 motorcycle in Woodstock, New York, suf- fering a mysterious trauma to his body and spirit that caused him to go underground for a long time.5 Dylan was twenty-five years old at the time of that accident; it was the same summer that Bruce died at age forty. Lenny Bruce began his career as a stand-up comic. Stand-up com- edy derived from various popular modes of entertainment of the late nineteenth-century, such as vaudeville, music halls, minstrel shows, humorous monologists (e.g., Mark Twain), and even the antics of a circus clown.6 Comedians of this earlier era often assumed an ethnic 2. There is no agreed-upon explanation for why Robert Allen Zimmerman chose to adopt the pseudonym “Bob Dylan.” See R. Clifton Spargo & Anne K. Ream, Bob Dylan and Religion, in THE CAMBRIDGE COMPANION TO BOB DYLAN 87, 90 (Kevin J.H. Dettmar ed., 2009) [hereinafter CAMBRIDGE COMPANION]. He seemed to first have chosen “Bob Dillon” in 1960, but by the end of the year, had changed the spelling to “Bob Dylan.” Id. Another theory is that Dylan believed that a Jewish name might not make him acceptable as “part of old-time America,” just as Ramblin’ Jack Elliot changed his name from Elliot Adnopoz. Id. Bruce, who was born in New York, once said, “To me, if you live in New York or any other big city, you are Jewish . It doesn’t matter even if you’re Catholic; if you live in New York you’re Jewish. If you live in Butte, Montana, you are going to be goyish if you’re Jewish.” Petri Liukkonen, LENNY BRUCE (1925-1966)—LEONARD ALFRED SCHNEIDER, http://kirjasto.sci.fi/lbruce.htm (last visited Aug. 8, 2011). Bruce was raised by his relatives after his parents’ divorce. Id. He served in the Navy and worked several odd jobs before he moved to Hollywood to study acting. Id. In 1947, he changed his name to Bruce because “Leonard Alfred Schneider sounded too Hol- lywood.” Id. 3. Liukkonen, supra note 2. 4. SETH ROGOVOY, BOB DYLAN: PROPHET, MYSTIC POET 15 (2009). 5. Dylan appeared live just three times in the following seven-plus years: at a memorial concert for Woody Guthrie in 1968, at the 1969 Isle of Wight Festival, and at the 1971 Concert for Bangladesh. See Alan Light, Bob Dylan as Performer, in CAMBRIDGE COMPANION, supra note 2, at 55, 60. 6. Vaudeville took its name from the Val de Vire, the French river valley that was known for its tradition of bawdy songs. See EDDIE TAFOYA, THE LEGACY OF THE HARMON_CHRISTENSEN 2/3/2012 4:08 PM 2011] BOB DYLAN ON LENNY BRUCE 1289 persona and drew on popular stereotypes. The early stand-up comics all started out in vaudeville: Jack Benny, Frank Fay, Bob Hope, Fred Allen, and Milton Berle.7 They stepped out alone onto the stage, of- ten in front of the curtain, and spoke directly to a live audience.8 Bruce started out in this vaudevillian tradition—one that his mother had belonged to as a stage performer.9 In the late 1940s, Bruce’s act was “hokey. He was a living black-and-white Brylecreem ad: greased-down hair, bow-tie, wide lapels. His movements only slightly exaggerated the stock-in-trade gestures of comic impersonators . For the most part, Lenny echoed his burlesque-comedian mother’s routine.”10 WISECRACK: STAND-UP COMEDY AS THE GREAT AMERICAN LITERARY FORM 110 (2009). Vaudeville was family entertainment that brought together a series of unre- lated acts, sometimes as many as a dozen, on a single bill. See id. at 111. It was in vaudeville that stand-up comedy was born, sometime between 1880 and 1890, al- though Mark Twain had worked with direct-address entertainment since 1857. See id. 7. There was a tradition among those comics who started in vaudeville of chang- ing their names to soften or mask the stamp of immigrant ethnicity. Frank Fay was born Francis Anthony Donner of an Irish Catholic family; Fred Allen was born John Florence Sullivan of an Irish Catholic family; Jack Benny was born Benjamin Ku- belsky of a Jewish Polish family; Bob Hope was born Leslie Townes Hope of English and Welsh parents; Milton Berle was born Milton Berlinger to a Jewish family; Dan- ny Thomas was named Amos Alphonsus Muzyad Yakoob of Lebanese parents; Alan King was born Irwin Alan Kniberg of Russian-Jewish immigrants; Don Rickles alone kept his name, being born Donald J. Rickles. See List of Comedians, WIKIPEDIA, http://en.wikipedia.org/wiki/List_of_comedians (last visited Aug. 24, 2011). 8. See TAFOYA, supra note 6, at 111. 9. See LAWRENCE J. EPSTEIN, THE HAUNTED SMILE: THE STORY OF JEWISH COMEDIANS IN AMERICA 169-70 (2001). Bruce’s mother, born Sadie Kitchenberg, was known professionally as Sally Marr. Id. Divorced, and struggling to be a comic, Marr took Lenny to a burlesque house, let him read “sexually explicit magazines, and frequently left him on his own.” Id. at 169. Bruce began performing stand-up comedy in burlesque houses and strip clubs. Id. at 170. Strip clubs “were crucial for the crea- tion of Lenny Bruce as a comedian, for in those clubs Bruce was expected to use sex- ually charged language and obscenities. He was hardly the only person to use foul language in these clubs, but he learned how best to use obscenity to get laughs.” Id. 10. RONALD K.L. COLLINS & DAVID M. SKOVER, THE TRIALS OF LENNY BRUCE: THE FALL AND RISE OF AN AMERICAN ICON 15 (2002). Bruce had been one of many Jewish comedians who had played the Borscht Belt in its heyday, between the 1930s and 1950s.