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Watch Jammin' in New York or Carlin at Carnegie – hell, watch or listen to nearly any one of his nearly two dozen specials – and you'll witness rapid, virtuosic rants full of sophisticated wordplay and potent hypotheticals. Then he grew a beard, found drugs and then found his voice, crafting brainy polemics that poked and prodded listeners out of their socially complicit comfort zones. Like Pryor, Carlin went through an early "square" phase that seemed mainstream-friendly to a fault. The hippie sage, the M.I.T.-level linguist, the First Amendment activist, the undisputed champion gadlfy of stand-up – George Carlin was all this and much more.
In these specials, he not only mapped the mind of a lazy, horny, gluttonous dude who happens to be a dad, but a culture of entitlement in which "everything is amazing and nobody is happy." This is what a comic genius looks like. has challenged himself to deliver on an unprecedented scale: The self-deprecating social critic has crafted many hours of new material, one almost every year, and let the material go after recording it. Staring with his 2007 special Shameless, he turned a guy slinging dick jokes and absurdist one-liners into a guy slinging dick jokes and rigorously honest stories about his life and those closest to him. But somewhere around the time he called his four-year-old and asshole and imagined his wife giving him the "saddest handjob in America," the next-level artist we now know as Louis C.K. The tall redhead had been working comedy clubs across the country for decades, making his bones along with countless other stand-ups. To which we can only say, in our best Kaufmanesque "Foreign Man" voice: Tank you berry much. More than his routines, though, he stripped down and remade stand-up in his image, asking audience members to push past discomfort and recognize a loopy, dadaist meaninglessness in comedy and life. One needs to understand the rules in order to break them, naturally, and Kaufman could titillate crowds with his grand Elvis impression or his famous Mighty Mouse bit when the moment was right. Kaufman's career was the country's first major introduction with what’s sometimes called anti-comedy: An audience-baiting bit of performance art that shuns the simplicity of the set-up/punchline dynamic.
These 50 stand-ups best embody what we have come to expect of our modern-day comedians: Someone who can wake us up to the weird, wonderful possibilities of the world around us, impel us to think differently about our own lives – and most of all, make us howl like blithering idiots.Įven if Andy Kaufman hadn't wrestled women for the “Inter-Gender Wrestling” championship hadn't entrusted his three, grown adopted black sons to David Letterman on-air hadn't created abusive, overtly hacky alter-ego Tony Cilfton and hadn't took his entire audience at Carnegie Hall out for milk and cookies, he would still be a legend. No disrespect to the foundational figures who shaped the earliest incarnations, but this list tiptoes past some of the early craftsmen and focuses on the unique voices who have helped to push stand-up forward in more recent days. In coming up with our version of a comic canon, we weighed artistic merit, technical proficiency and sense of timing, quality of their written material, their delivery and degree of influence - and often, their sense of what makes something, anything, funny. So you’d think assembling a list of the 50 greatest stand-ups of all time would be easy right? Riiiight. They eventually exit stage left and leave a lot of laughing folks in their wake.
A man or woman walk into a bar (or a club, or a theater, or an arena …). And even as the medium has morphed from one-liner artists to political satirists, from social-taboo tweakers to didja-ever-notice observational humorists, from the club-comic bubble of the 1980s to the the alt-comedy boom of the 1990s, it usually boils down to a fairly simple set-up. Some of the best practitioners of the form are still alive … or at the very least, haven’t been in the ground all that long. Stand-up comedy grew out of minstrelsy and then vaudeville, which only makes it about a century old, tops.
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But the idea of getting onstage in front of strangers, just one person and a spotlight, and talking until they crack up – that’s new. Cavemen whacked one another in the nuts for cheap yuks, and Medieval fools jabbered in a flop sweat to keep from being beheaded.
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