Well-written and interesting - mostly. Some of the biographical portions went too long for my taste. Excellent introduction to some comedians that were new to me, such as: Tom Lehrer, Stan Freberg, Bob & Ray, Mike Nichols & Elaine May and Will Jordan. I found Lehrer most interesting because he left the business at what may have been the height of his popularity. And he seemed happy with his life and well-adjusted. I wish I could say the same for many of the others profiled herein. So often, these performers tried to hang on too long, were bitter, or just had issues. It's unfortunate, but I guess many careers go that way whether in show business or elsewhere.

My wife suggested that this topic of American comedy and comedians across various eras might have the makings of a great Ken Burns documentary. I whole-heartedly agree. ( )

Born in the last year of the Baby Boomers (1946-1964), I have always felt drawn back before my time to the 50’s and 60’s as if caught in a generational undertow. I was more aware of the television, movies and even music of those years than most people my age. This extended to the a new type of comedy that developed from the early 50’s thru the 60’s. As a kid I was not attracted to the brash, loud and often cartoonish comedians that dominated—even today I am less drawn to the three ring circus than I am to the quiet guy in the corner cracking wise. I remember hearing and loving routines by STILLER & MEARA, BOB & RAY, BOB NEWHART, SHELLY BERMAN, and NICHOLS & MAY on the radio (when radio wasn’t all sports and top 40). They all wove stories that I could visualize. Not designed merely to deliver punchlines every 15 seconds, these routines created characters that lived and breathed. I was invited into the world where these characters lived instead of being kept at arms length. This book chronicles that transition from the loud to the observational, from the broad to the personal—when machine guns were replaced by sniper rifles.

The majority of the book consists of thoroughly researched critical biographies of the artists leading this transition—including Lenny Bruce, Woody Allen, Dick Gregory, Phyllis Diller, & Joan Rivers. The Joan Rivers section in particular is fascinating—even though the reader is aware of her ultimate success, her path was so difficult that you remain stunned every time she succeeds. The lengths vary depending upon the importance, longevity and impact of the artist, but I never felt cheated that one was too short and only once or twice did one feel too long. Each is well crafted balancing the personal with the professional and their influence upon each other. The author teases out from each comedian’s personal life the source and force behind their humor. Just enough of that humor is on display for each person to get their flavor down. While I would have enjoyed myriad more examples, the book would never have ended. Also, the humor is better served by watching or listening to the originals—much of this humor can be sampled on YouTube, etc.

The biographies are in a rough chronological order starting with the true groundbreakers like Mort Saul in the 50’s who’s observational and political humor were clear departures from the norm and something postwar Americans didn’t know they were craving. Then came others who went beyond Saul's stand up: Sid Caesar (sketch comedy), Ernie Kovacs (TV) & Stan Freberg (radio). Kovacs has always been a particular favorite of mine creating the template for humor on TV still in evidence today. Fascinating how the vast majority of these funny people functioned as comedians largely because of major dis-functions in their personal lives. The cliché of the sad clown cannot be overplayed. I dare you to read about Jonathan Winter’s childhood without some sense of shock and dismay flushing up under your skin. And those same issues that fueled their humor did not disappear upon achieving success. Most of these folks self destructed in either their personal or professional lives ultimately destroying both.

On the whole a neat new way to look at post war America—how the America that entered the war was not the same America by the end. The cookie cutter America with 101 rules of etiquette and sharply defined rules for men and women and minorities began to crumble. No accident that Rock n’ Roll exploded onto the scene around the same time and that those born right after the war would seek new forms of expression in the sixties. The first part of the book is an extensive introduction/overview that I think might have better served the book if the biographies were better categorized and then a separate intro for each section created. While there is a sense of the progression from the 50’s comics (Mort Saul, Sid Caesar, Steve Allen) to the 60’s(Dick Gregory, Bill Cosby, Smothers Brothers) comics and beyond (Richard Pryor, George Carlin--not biographied but referenced), this structure might give more flow to the evolution of American comedy. A minor quibble for a big bundle of a book that I thoroughly enjoyed.

A side note. The toughest part of the book to get through for me was the section on Bill Cosby. Given his current circumstances I had to force myself to read it—but it was interesting that the accusations against him fit quite well with the person described in the book. I’m pretty sure the author was not surprised when the allegations came to light. ( )