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Lewis Black Goes to the Symphony

Posted by andPOP Staff on May 21st, 2006


When Lewis Black played New York City’s Carnegie Hall last fall, they didn’t put him up in just any old dressing room. Oh no. Black was given the Maestro’s Room.

“It was just a little disconcerting,” the comedian recalls by phone from his Manhattan apartment. “There’s a piano in there, and pictures of [Vladimir] Horovitz and Leonard Bernstein, all the greats ? these black and white photos of them looking much more impressive than you do.”

In April, Comedy Central released a two-CD recording of Black’s set from that September 2005 night. On “The Carnegie Hall Performance,” his fifth album of stand-up comedy, Black lets loose on topics from Michael Jackson (“I have never seen that colour in the crayon box”) to candy corn (“one of the shittiest tastes I’ve ever had in my mouth”).

But it’s his raging political rants that Black is best known for, and the ones that his audiences always expect. His weekly “Back in Black” segment on The Daily Show with Jon Stewart has become a much-loved exploration of stupidity, usually aimed at the political right in America.

“Politics was always a bit here and a bit there [in my routine], more at times and less at times,” says Black, whose appearances on The Daily Show are often marked by excessive finger-jabbing and a disheveled suit. “As of late, you know, what are you going to do? Four cable news channels, 24-hours a day. Because of 9/11, a lot of what goes on politically has a much more seemingly profound effect on us. It’s always been funny, just a lot more people who were born and raised on it are paying attention to it and are able to turn it into comedy.”

Before Black signed on with The Daily Show in 1997, the 57-year-old devoted much of his life to theatre. He’d earned a Master of Fine Arts degree from the Yale School of Drama in 1977, positioning himself for a career as a playwright. He’s written more than 40 plays since, one of which (“The Deal”) was made into a short film. For most of the ’80s, Black was the playwright in residence and associate artistic director of the West Bank Caf? Downstairs Theater Bar in New York. It was here, when he’d warm up audiences before plays, that the stand-up comic in Black began to emerge.

When he left the playhouse in 1989, Black shifted his focus to comedy and acting. He toured for the next eight years, gaining much popularity on the comedy circuit. But once his spot on The Daily Show started up ? and he landed multiple Comedy Central specials and guest spots on Late Night with Conan O’Brien ? Black’s name really started to spread. At least his last name did.

“I started noticing people were showing up because they knew me,” he says. “People would point and go, ‘You’re that guy?you’re the angry guy. You’re?what’s your name?Jack Black!’ I went from being known in the comedy community but not much further than that to having access to an audience that got what I was doing.”

And what Black does best is anger. While Stewart’s attack style is sly, filled with knowing smirks as he slams his victims, Black’s delivery is an all-out assault, laden with petulance and passionate conviction.

“Even from the beginning when I was going around the country, people said, ‘They’re not going to get it. You’re from New York. You’re too angry,’” he recalls. “But I started to realize that this country’s been angry for a long time ? it’s just starting to reach the boiling point.”

Black’s capitalized on anger in the U.S., finding fame and fortune by getting pissed off about the same things that irk your average, liberal American. With a complete lack of pretense, Black and his audiences connect intimately as he (loudly) voices their collective frustrations.

“The health care industry is in shambles, education is in shambles, you’ve got a government that really doesn’t care about governing anymore,” he rants. “All I think anger can do for me is deliver the laughs and give people a break, and also make them feel like they’re not crazy. Because there are a lot of people who find this situation acceptable. And they’re not just rich people, they’re people who you just have to ask, ‘Are you brain-dead?’”

Today, though, it’s a piece of mail that has Black particularly fired up. He’d just received a notice from the Screen Actors Guild about huge hikes in Federal Communications Commission (FCC) indecency fines for individual entertainers.

“It’s extraordinary. You’re performing in a role that you’ve been employed to do and if the script or program is considered outrageous, they can fine you,” he says. “The Christian right has put its foot on the neck of the Republican Party, and so they feel obligated to do this. I mean, hello? Did any of these people ever go to Europe? The first time I walked through Amsterdam and saw the advertising, I was gawking. I was the moron. I was like a five-year-old going, ‘Look at the tits.’”

And it’s not only the outcry over nudity that gets to Black. Profanity is a big part of his live show (he jokes that Carnegie Hall rules limit him to a dozen f-bombs), and he has little tolerance for those who look to censor colourful language.

“There’s no such thing as a bad word,” he explains. “It’s a word that’s used to express anger. That’s another thing that really irritates me ? the adults that I was born and raised with who continue to go, ‘Well, you can’t use that kind of language.’ What word do these people use to express anger? I don’t know. ‘Pussy feathers’ doesn’t work.”

However, he won’t have to worry about FCC fines for the next little while. This month, Black sets out on a tour that will keep him going, on and off, until the end of October (there’s only one Canadian stop, at Casino Rama on September 9th).

In his off-time, Black plans to work on both his golf skills and “Red State Diaries,” a show in production for Comedy Central. The series follows Black through Republican-controlled states as he seeks out explanations for the current state of affairs in America.

However, even with his own television show on the horizon and a major summer tour ahead, his Carnegie Hall performance will stand as a huge career highlight.

“Size-wise, it wasn’t the biggest I’d played, but certainly in terms of prestige,” he says. “Initially you go in intimidated, and then a few minutes into it you realize that this is a really good room. It was fun to play it. I mean, what else am I going to do, La Scala?”

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