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When once asked to describe jazz, trumpet legend Miles Davis sarcastically but saliently replied, "You can sweat it down to four words: Louis Armstrong and Charlie Parker." Applying that same old-school, new-school trailblazer to comedy is somewhat more problematic. A number of great early comics could stand in for the Armstrong entry, among them Charlie Chaplin, Groucho Marx, Jack Benny, and George Burns. But in choosing the "Charlie Parker of comedy," by that meaning the one who blazed the modern-day trail, influencing all that came after him, the answer is simple and irrefutable: Lenny Bruce. He was the genre's reckless visionary, the one who defied conventions, the law, and the system, and -- like most visionaries -- was taken down by it all in the end. Bruce changed the whole ball game: no longer would comics have to come out in a cute little suit and tell cute little mother-in-law jokes or feel like they were "working dirty" if they talked openly about sex and other taboo subjects. The shoot-from-the-hip and tell-the-truth work of Richard Pryor, George Carlin, Richard Lewis, and myriad other modern-day comics could never have existed without Bruce first storming the citadel and tearing down the conventional walls of comedy presentation back in the 1950s. He was the original rebel in this marvelous amalgam he invented, taking his borscht belt and strip-joint background and spot welding it to a hipster enlightenment. His style took previously taboo subjects and not only dumped them all in the audience's lap, but did it with a creative verve that made him the wildest, the hippest, the most controversial, and simply the best comic trotting the boards. Those lucky enough to have caught Bruce on an inspired night said it was like a roller coaster ride inside a person's head, free-association ramblings streaming out in a virtual torrent of ideas. Jumping from '50s jazz hipster slang to a liberal dosage of Yiddish vernacular that sounded like code to the uninitiated to sometimes impish little-boy charm letting you in on a big, dark secret, no comic created intimacy with an audience in almost any environment -- conclusively proven in his amazing performance at Carnegie Hall -- than Lenny Bruce.
Although he rode in on the crest of that late-'50s wave known as the "sick comics," Bruce distanced himself from the pack -- both in ideas, outlook, and demeanor -- quickly proving that he had much more to offer philosophically than some tasteless one-liners whose comedic value was usually based on shock value alone. Not that in the early days Bruce wasn't above drawing on items in the news to pull a "quickie sickie" observation to get a fast laugh, but the simple fact that Bruce quickly outgrew the medium that launched him was already apparent by the live recorded performances he was laying down that were appearing on albums by 1959 and 1960. While Mort Sahl (the most popular and digestible of the new comics) would take aim at political sacred cows, Bruce came from a hipster's background and -- fueled by endless nights of honing his craft in California strip joints, where the audience couldn't have cared less what he said or did -- was out to violate the night club taboos by dealing with sex, race, and religion, using words that had seldom been uttered on cabaret stages up to that point.
Bruce was a brilliant satirist and the object of his early pieces was quite often show business itself, clearly a signal that he was more than willing to bite the hand that was feeding him. Exposing the seediness, pomposity, and insensitivity that existed then -- as now -- in show business via brilliant routines like "The Palladium," "Hitler and the M.C.A.," "The Tribunal," and "Religions, Inc.," it was obvious that Bruce was going places that no comic had dared to go in front of an audience. Exposing racism and bigotry in routines like "White Collar Drunks," "How to Relax Your Colored Friends at Parties," and his brilliant satire of the movie "The Defiant Ones" was another bold step, paving the way for message comedians like Dick Gregory (and later, Richard Pryor) to find their voice and audience. His work went through three basic phases of development, starting with the bits and routines that lampooned show business conventions and often caused audiences to walk out. Tiring of the sheer drudgery of regurgitating the same material on a nightly basis, Bruce entered his second phase, abandoning all format on-stage, free-forming his entire performance. His final phase at the end of his career was slow-moving, obsessive shows centered around the contradictions in the American legal system. As Bruce kept testing the boundaries of what could be talked about on a stage, other comics heard his basic message and rethought their entire game plan. In effect, he invented modern-day comedy as we know it. The concept of a comedy concert back then was unthinkable. Up to that time, comics worked in clubs (bars, saloons, and strip joints) or as part of a stage show. Putting a comedian in a theater all by their lonesome for an entire evening seemed like a crazy idea until Bruce's work justified such a gamble, now a presentation format common to any comedian popular enough to fill a large building.
But with the trailblazing came the heat. The police busted him at the Jazz Workshop in 1961 for violating the California Obscenity Code. As Paul Krassner said, "Lenny fought for the right to say on a nightclub stage what he felt free to say in his own living room." Bruce's drug use was widely known throughout the business, and after his acquittal on obscenity charges, he was deported from Britain, barred from performing in Australia, busted for either narcotics possession or obscenity in Los Angeles, Chicago, Hollywood, New York, and San Francisco. In 1964 he had himself declared a legally bankrupt pauper, virtually unable to work anywhere (hence the move into "concerts"). By this time, the lone benefactor keeping him afloat was rock & roll producer Phil Spector, who was the last person to record him for public consumption. In August 1966, with his career and finances in tatters, Bruce died of a heroin overdose at age 40. His life story became a movie starring Dustin Hoffman. And his visionary work changed the world of comedy forever.
Leonard Alfred Schneider (October 13, 1925 – August 3, 1966), better known by his stage name Lenny Bruce, was an American stand-up comedian, social critic and satirist.
He was renowned for his open, free-style, and critical form of comedy which integrated politics, religion, and sex. His private life was marked by substance abuse, promiscuity, as well as efforts to prevent his wife from working as a stripper. His 1964 conviction in an obscenity trial was followed by a posthumous pardon, the first in New York state history. He paved the way for future outspoken comedians, and his trial for obscenity, in which – after being forced into bankruptcy – he was eventually found not guilty, is seen as a landmark trial for freedom of speech in the US.
Early life 
Lenny Bruce was born Leonard Alfred Schneider in Mineola, New York, grew up in nearby Bellmore, and attended Wellington C. Mepham High School. His parents divorced when he was five years old (the documentary Lenny Bruce: Swear to Tell the Truth claims he was eight years old), and Lenny lived with various relatives over the next decade. His British-born father, Myron (Mickey) Schneider, was a shoe clerk and Lenny saw him very infrequently. The 1940 census shows Myron (34) and Dorothy (36) Schneider and son, Leonard (14), living on Long Island at 710 Hughes Street, Bellmore, New York. Mickey later moved to Arcadia, California and became a podiatrist. His mother, Sally Marr (real name Sadie Schneider, born Sadie Kitchenberg), was a stage performer and had an enormous influence on Bruce's career. After spending time working on a farm, Bruce joined the United States Navy at the age of 16 in 1942, and saw active duty during World War II aboard the USS Brooklyn (CL-40) fighting in Northern Africa, Palermo, Italy in 1943 and Anzio, Italy in 1944. In May 1945, after a comedic performance for his ship-mates in which he was dressed in drag, his commanding officers became upset. He defiantly convinced his ship's medical officer that he was experiencing homosexual urges. This led to his Dishonorable Discharge in July 1945. However, he had not admitted to or been found guilty of any breach of naval regulations and successfully applied to have his discharge changed to "Under Honorable Conditions ... by reason of unsuitability for the naval service".
After a short stint in California spent living with his father, Bruce settled in New York City, hoping to establish himself as a comedian. However, he found it difficult to differentiate himself from the thousands of other show business hopefuls who populated the city. One locale where they congregated was Hanson's, the diner where Bruce first met the comedian Joe Ancis, who had a profound influence on his approach to comedy. Many of Bruce's later routines reflected his meticulous schooling at the hands of Ancis.
Lenny took the stage as "Lenny Marsalle" one evening at the Victory Club, as a stand-in master of ceremonies for one of his mother's shows. His ad-libs earned him some laughs. Soon afterward, in 1947, just after changing his last name to Bruce, he earned $12 and a free spaghetti dinner for his first stand-up performance in Brooklyn, New York. He was later a guest — and was introduced by his mother, who called herself "Sally Bruce" — on the Arthur Godfrey's Talent Scouts radio program, doing a "Bavarian mimic" of American movie stars (e.g., Humphrey Bogart, James Cagney, and Edward G. Robinson).
Bruce's early comedy career included writing the screenplays for Dance Hall Racket in 1953, which featured Bruce, his wife, Honey Harlow, and mother, Sally Marr, in roles; Dream Follies in 1954, a low-budget burlesque romp; and a children's film, The Rocket Man, in 1954. He also released four albums of original material on Berkeley-based Fantasy Records, with rants, comic routines, and satirical interviews on the themes that made him famous: jazz, moral philosophy, politics, patriotism, religion, law, race, abortion, drugs, the Ku Klux Klan, and Jewishness. These albums were later compiled and re-released as The Lenny Bruce Originals. Two later records were produced and sold by Bruce himself, including a 10-inch album of the 1961 San Francisco performances that started his legal troubles. Starting in the late 1950s, other unissued Bruce material was released by Alan Douglas, Frank Zappa and Phil Spector, as well as Fantasy. Bruce developed the complexity and tone of his material in Enrico Banducci's North Beach nightclub, "The hungry i," where Mort Sahl had earlier made a name for himself.
His growing fame led to appearances on the nationally televised Steve Allen Show, where he made his debut with an unscripted comment on the recent marriage of Elizabeth Taylor to Eddie Fisher, wondering, "will Elizabeth Taylor become bat mitzvah?" He also began receiving mainstream press, both favorable and derogatory. Syndicated Broadway columnist Hy Gardner called Bruce a "fad" and "a one-time-around freak attraction", while Variety declared him "undisciplined and unfunny". On February 3, 1961, in the midst of a severe blizzard, he gave a famous performance at Carnegie Hall in New York. It was recorded and later released as a three-disc set, titled The Carnegie Hall Concert. In the liner notes, Albert Goldman described it as follows:This was the moment that an obscure yet rapidly rising young comedian named Lenny Bruce chose to give one of the greatest performances of his career. ... The performance contained in this album is that of a child of the jazz age. Lenny worshipped the gods of Spontaneity, Candor and Free Association. He fancied himself an oral jazzman. His ideal was to walk out there like Charlie Parker, take that mike in his hand like a horn and blow, blow, blow everything that came into his head just as it came into his head with nothing censored, nothing translated, nothing mediated, until he was pure mind, pure head sending out brainwaves like radio waves into the heads of every man and woman seated in that vast hall. Sending, sending, sending, he would finally reach a point of clairvoyance where he was no longer a performer but rather a medium transmitting messages that just came to him from out there — from recall, fantasy, prophecy. A point at which, like the practitioners of automatic writing, his tongue would outrun his mind and he would be saying things he didn't plan to say, things that surprised, delighted him, cracked him up — as if he were a spectator at his own performance!
Personal life 
Bruce met his future wife, Honey Harlow, a stripper from Baltimore, Maryland, in 1951. They were married that same year, and Bruce was determined to have her end her work as a stripper.
In 1953, Bruce and Harlow eventually left New York for the West Coast, where they got work as a double act at the Cup and Saucer in Los Angeles, California. Bruce then went on to join the bill at the club Strip City. Harlow found employment at the Colony Club, which was widely known to be the best burlesque club in Los Angeles at the time.
In late 1954, Bruce left Strip City and found work within the San Fernando Valley at a variety of strip clubs. As the master of ceremonies, his job was to introduce the strippers while performing his own ever-evolving material. The clubs of the Valley provided the perfect environment for Bruce to create new routines: according to Bruce's primary biographer, Albert Goldman, it was "precisely at the moment when he sank to the bottom of the barrel and started working the places that were the lowest of the low" that he suddenly broke free of "all the restraints and inhibitions and disabilities that formerly had kept him just mediocre and began to blow with a spontaneous freedom and resourcefulness that resembled the style and inspiration of his new friends and admirers, the jazz musicians of the modernist school."
Honey and Lenny's daughter Kitty Bruce was born in 1955. He had an affair with the jazz singer Annie Ross in the late 1950s. In 1959, Lenny's divorce from Honey was finalized.
Legal troubles 
This desire to end his wife's stripper days led Bruce to pursue schemes that were designed to make as much money as possible. The most notable was the Brother Mathias Foundation scam, which resulted in Bruce's arrest in Miami, Florida later that year for impersonating a priest. He had been soliciting donations for a leper colony in British Guiana (now Guyana) under the auspices of the "Brother Mathias Foundation", which he had legally chartered – the name was his own invention, but possibly referred to the actual Brother Matthias who had befriended Babe Ruth at the Baltimore orphanage to which Ruth had been confined as a child. Bruce had stolen several priests' clergy shirts and a clerical collar while posing as a laundry man. He was found not guilty because of the legality of the New York state-chartered foundation, the actual existence of the Guiana leper colony, and the inability of the local clergy to expose him as an impostor. Later, in his semifictional autobiography How to Talk Dirty and Influence People, Bruce revealed that he had made about $8,000 in three weeks, sending $2,500 to the leper colony and keeping the rest.
On October 4, 1961, Bruce was arrested for obscenity at the Jazz Workshop in San Francisco; he had used the word cocksucker and riffed that "to is a preposition, come is a verb", that the sexual context of come is so common that it bears no weight, and that if someone hearing it becomes upset, he "probably can't come". Although the jury acquitted him, other law enforcement agencies began monitoring his appearances, resulting in frequent arrests under charges of obscenity.
Bruce was arrested again in 1961, in Philadelphia, for drug possession the same year, and again in Los Angeles, California, two years later. The Los Angeles arrest took place in then-unincorporated West Hollywood, and the arresting officer was a young deputy named Sherman Block, who would later become County Sheriff. The specification this time was that the comedian had used the word schmuck, an insulting Yiddish term that is an obscene term for penis.
On Dec. 5, 1962, he was arrested at the legendary Gate of Horn folk club in Chicago. The same year he played at Peter Cook's The Establishment Club in London, and a year later in April, he was barred from entering England by Home Office as an “undesirable alien”.
In April 1964, he appeared twice at the Cafe Au Go Go in Greenwich Village, with undercover police detectives in the audience. On both occasions, he was arrested after leaving the stage, the complaints again pertaining to his use of various obscenities.
A three-judge panel presided over his widely publicized six-month trial, prosecuted by Asst. Manhattan D.A. Richard Kuh, with Bruce and club owner Howard Solomon both found guilty of obscenity on November 4, 1964. The conviction was announced despite positive testimony and petitions of support from – among other artists, writers and educators – Woody Allen, Bob Dylan, Jules Feiffer, Allen Ginsberg, Norman Mailer, William Styron, and James Baldwin, and Manhattan journalist and television personality Dorothy Kilgallen and sociologist Herbert Gans. Bruce was sentenced, on December 21, 1964, to four months in a workhouse; he was set free on bail during the appeals process and died before the appeal was decided. Solomon later saw his conviction overturned; Bruce, who died before the decision, never had his conviction stricken. Bruce later received a full posthumous gubernatorial pardon.
Last years 
Despite his prominence as a comedian, Bruce appeared on network television only six times in his life. In his later club performances Bruce was known for relating the details of his encounters with the police directly in his comedy routine. These performances often included rants about his court battles over obscenity charges, tirades against fascism and complaints that he was being denied his right to freedom of speech.
He was banned outright from several U.S. cities, and in 1962 was banned from performing in Sydney, Australia. At his first show there, Bruce took the stage, and declared "What a fucking wonderful audience" and was promptly arrested.
Increasing drug use also affected his health. By 1966 he had been blacklisted by nearly every nightclub in the United States, as owners feared prosecution for obscenity. Bruce did have a famous performance at the Berkeley Community Theatre in December 1965. It was recorded and became his last live album, titled "The Berkeley Concert"; his performance here has been described as lucid, clear and calm, and one of his best. His last performance took place on June 25, 1966, at The Fillmore Auditorium in San Francisco, on a bill with Frank Zappa and The Mothers of Invention. The performance was not remembered fondly by Bill Graham, who described Bruce as "whacked out on amphetamines"; Graham thought that Bruce finished his set emotionally disturbed. Zappa asked Bruce to sign his draft card, but the suspicious Bruce refused.
At the request of Hugh Hefner and with the aid of Paul Krassner, Bruce wrote an autobiography. Serialized in Playboy in 1964 and 1965, this material was later published as the book How to Talk Dirty and Influence People. Hefner had long assisted Bruce's career, featuring him in the television debut of Playboy's Penthouse in October 1959.
Death and posthumous pardon 
On August 3, 1966, a bearded Bruce was found dead in the bathroom of his Hollywood Hills home at 8825 W. Hollywood Blvd. The official photo, taken at the scene, showed Bruce lying naked on the floor, a syringe and burned bottle cap nearby, along with various other narcotics paraphernalia. According to legend a policeman at the scene said, “There is nothing sadder than an aging hipster” which itself possibly was one of Lenny Bruce’s lines. Record producer Phil Spector, a friend of Bruce's, bought the negatives of the photographs to keep them from the press. The official cause of death was "acute morphine poisoning caused by an accidental overdose."
His remains were interred in Eden Memorial Park Cemetery in Mission Hills, California, but an unconventional memorial on August 21 was controversial enough to keep his name in the spotlight. The service saw over 500 people pay their respects, led by Spector. Cemetery officials had tried to block the ceremony after advertisements for the event encouraged attendees to bring box lunches and noisemakers. Dick Schaap eulogized Bruce in Playboy, with the memorable last line: "One last four-letter word for Lenny: Dead. At forty. That's obscene."
His epitaph reads: "Beloved father – devoted son/Peace at last."
Bruce is survived by his daughter, Kitty Bruce (born Brandy Kathleen Bruce), who lives in Pennsylvania.
At the time of his death, his girlfriend was comedienne Lotus Weinstock.
On December 23, 2003, 37 years after his death, New York Governor George Pataki granted Bruce a posthumous pardon for his obscenity conviction.
Bruce was the subject of the 1974 biographical film Lenny directed by Bob Fosse and starring Dustin Hoffman (in an Academy Award-nominated Best Actor role), and based on the Broadway stage play of the same name written by Julian Barry and starring Cliff Gorman in his 1972 Tony Award winning role.
The documentary Lenny Bruce: Swear to Tell the Truth, directed by Robert B. Weide and narrated by Robert De Niro, was released in 1998.
In 2004, Comedy Central listed Bruce at number three on its list of the 100 Greatest Stand-Ups of All-Time, placing above Woody Allen and below George Carlin.
In popular culture Bruce is pictured in the top row of the cover of the Beatles 1967 album Sgt. Pepper's Lonely Hearts Club BandThe clip of a news broadcast featured in "7 O'Clock News/Silent Night" by Simon & Garfunkel carries the ostensible newscast audio of Lenny Bruce's death. In another track on the album Parsley, Sage, Rosemary and Thyme, "A Simple Desultory Philippic (Or How I Was Robert MacNamara'd Into Submission)", Paul Simon sings, "... I learned the truth from Lenny Bruce, that all my wealth won't buy me health."Tim Hardin's fourth album, released in 1968 Tim Hardin 3 Live in Concert, includes his song Lenny's Tune written about his friend Lenny Bruce.Nico's 1967 album Chelsea Girl includes a track entitled "Eulogy to Lenny Bruce", written by Tim Hardin. In it she describes her sorrow and anger at Bruce's death. Bob Dylan's 1981 song "Lenny Bruce" from his Shot of Love album describes a brief taxi ride shared by the two men. In the last line of the song, Dylan recalls: "Lenny Bruce was bad, he was the brother that you never had."R.E.M.'s 1987 song "It's the End of the World as We Know It (And I Feel Fine)" includes references to a quartet of famous people all sharing the initials L.B. with Lenny Bruce being one of them (the others being Leonard Bernstein, Leonid Brezhnev and Lester Bangs). The opening line of the song mentioning Bruce goes, "...That's great, it starts with an earthquake, birds and snakes, an aeroplane, Lenny Bruce is not afraid." Lenny Bruce shows up as a character in Don DeLillo's 1997 novel, Underworld. In the novel, Bruce does a stand-up routine about the Cuban Missile Crisis.Genesis' 1974 song "Fly On A Windshield" depicts a dystopic New York where "Lenny Bruce declares a truce and plays his other hand, Marshall McLuhan, casual viewin', head buried in the sand" and "Groucho, with his movies trailing, stands alone with his punchline failing".
Books by or about Bruce Bruce, Lenny. Stamp Help Out! (Self-Published pamphlet, 1962)Bruce, Lenny. How to Talk Dirty and Influence People (Playboy Publishing, 1967)
By others:Barry, Julian. Lenny (play) (Grove Press, Inc. 1971)Bruce, Honey. Honey: The Life and Loves of Lenny's Shady Lady (Playboy Press, 1976, with Dana Benenson)Bruce, Kitty. The (almost) Unpublished Lenny Bruce (1984, Running Press) (includes a graphically spruced up reproduction of 'Stamp Help Out!')Cohen, John, ed., compiler. The Essential Lenny Bruce (Ballantine Books, 1967)Collins, Ronald and David Skover, The Trials of Lenny Bruce: The Fall & Rise of an American Icon (Sourcebooks, 2002)DeLillo, Don. Underworld, (Simon and Schuster Inc., 1997)Denton, Bradley. The Calvin Coolidge Home For Dead Comedians, an award-winning collection of science fiction stories in which the title story has Lenny Bruce as one of the two protagonists.Goldman, Albert, with Lawrence Schiller. Ladies and Gentlemen—Lenny Bruce!! (Random House, 1974)Josepher, Brian. What the Psychic Saw (Sterlinghouse Publisher, 2005)Kofsky, Frank. Lenny Bruce: The Comedian as Social Critic & Secular Moralist (Monad Press, 1974)Kringas, Damian. Lenny Bruce: 13 Days In Sydney (Independence Jones Guerilla Press, Sydney, 2010) A study of Bruce's ill-fated September 1962 tour down under.Marciniak, Vwadek P., Politics, Humor and the Counterculture: Laughter in the Age of Decay (New York etc., Peter Lang, 2008).Smith, Valerie Kohler. Lenny (novelization based on the Barry-scripted/Fosse-directed film) (Grove Press, Inc., 1974)Thomas, William Karl. Lenny Bruce: The Making of a Prophet (first printing, Archon Books, 1989; second printing, Media Maestro, 2002; Japanese edition, DHC Corp. Tokyo, 2001)