Items filtered by date: November 2007

A young woman walks on stage, looking like a cross between Janis Joplin and Sid Viscous with the theatrics of Jimi Hendrix.  She stands looking at her amp as though she is truly in love.  She stares into the eye that is the power light, cranks it to 11 and the eruption starts. Playing fast-speed notes flying by like an Indy racecar, the Fabulous Miss Wendy now has everyone’s attention.  The crowd is thrown a left hook when they are preparing for a right-handed upper-cut.  People didn’t know what to say about the sight of a young woman playing a guitar like a true guitar hero. She sings of being a “fucked-up bitch,” to pay tribute to Led Zeppelin’s “Heartbreaker.”

The Fabulous Miss Wendy packs a youthful, innovative punch to an appreciation that is rooted from 60s and 70s rock stars. She flails her axe as though it’s a part of her body. She can shred as well as any metal enthusiast and she can strum a bar chord with as much keenness as Green Day’s Billy Joe Armstrong.   The Fabulous Miss Wendy is the type of guitar player that will make female guitarists happy and male guitarists horny—she puts on a show that should never be missed and will always be appreciated by any fan of rock ’n’ roll.

Of course, no band can duplicate The Beatles, but “Rain” sure does pay an honest tribute that takes the audience as close to the musical experience as one could dream. With a close enough resemblance to the Fab Four (especially Graham Alexander as Paul McCartney) to already create a serviceable illusion that one is actually at a Beatles concert, it’s the uncannily precise music in “Rain” that really cements the experience as a whole.

 

The show opens with a series of nostalgic period clips displayed on large screens on either side of the stage. Finally, the famous Ed Sullivan introduction in replicated as the curtain drops and the band goes into “I Want to Hold Your Hand”. As the evening progresses, “Rain”, for the most part chronologically, takes the audience into the various stages of The Beatles early on playing songs “Hard Days Night”, “Yesterday” and “Daytripper”. Before closing in on the midway break of the show the band takes on a complete transformation, donning the famous Sgt. Pepper’s Lonely Hearts Club Band garb and delivering such classics as “Strawberry Fields”, A Day In the Life” and “With A Little Help from My Friends”.

 

The bands returns from the intermission clothed in the mystical wear associated with The Beatles days with the Maharishi delving into “Hello Goodbye” and “I Am the Walrus” before hitting the final White Album/Abbey Road/ Let it Be eras. With each transformation in appearance the characters in “Rain” take on more and more likeness of The Beatles. The band is also accompanied by a massive projection screen at the rear of the stage that displays a flowing stream of images throughout, adding to the entire experience.  

 

If you are a Beatles fan (and who isn’t?), it without question that this show is for you. Alexander’s voice is scarily similar to Paul McCartney’s, Tom Teeley nails George Harrison’s guitar work, Douglas Cox plays like Ringo Starr incarnate and Steve Landes bravely takes on the tough task that is John Lennon and does so with the exactitude to successfully embody the famous icon.

 

The night ends triumphantly with encores “Let It Be” followed by a very crowd-pleasing version of “Hey Jude” that keeps the audience on their feet throughout and has them singing the “Na na na na na na na’s” is unison.

 

“Rain” is currently being performed at the Ford Center for the Performing Arts/Oriental Theatre (24 W. Randolph) through February 13^th. For more information visit www.raintribute.com or www.broadwayinchicago.com.          

“Laika Dog in Space” the combined effort of Chicago and New York’s Neo Futurist Theatre Company, is a witty presentation that is as inventive as it is funny. With clever props ranging from a host of simulated television sets, lighted space helmets and a raggedy stuffed pooch, the show takes a look at the hype, wonderment and possibilities of what may have occurred once the Russians sent Laika into space – the first animal to be sent into orbit. Unfortunately for Laika, the technology to de-orbit was not yet invented.

 

The three primary actors, Rob Neill, Eevin Hartsough and Jill Beckman (also collaborators in writing “Laika”) delivered brilliant performances whether it be carrying on in hilarious banter with each other or channeling their humor into song. Aiding the characters in working together, a calming, futuristic voice is heard throughout the show that interacts and sometimes reasons with the actors, creating a feel reminiscent to the TV classic, “The Prisoner”. The band is also very present during “Laika”. Besides their own droll lyrical additions, band members were often ditching their instruments for lines, and guitarist John Pierson even doubled as the “Space Race Host” where he finely portrays a cheesy game show personality.

 

What adds to the fun is that “Laika Dog in Space” is an interactive production in which anyone present in the crowd can suddenly find themselves as a part of the show. Members of the audience are frequently summoned to join in whether it is to answer a question, take instruction from the actors, read from a cue card or join in as game contestants.

 

Before the show all guest are invited to peruse a room of installations. Exhibits include a wall of famous dogs, funny and creative works of art, a silver ball that gives off electricity and will make your hair stand on end when touched and a vintage photo booth turned into a shrine that honors “The Prisoner” – inside it’s opening credits running continuously.

 

“Laika Dog in Space”, directed by Phil Ridarelli, is a very imaginative and entertaining show that should not be missed. Playing Thursdays, Fridays and Saturdays at 8pm through March 12^th, tickets are only $15 with discounts available for students and seniors. All performances are held at The Neo-Futurium, 5153 N. Ashland. Find out more about this show at www.neofuturists.org or by calling 773-275-5255. 

*Photo - (from left) Rob Neill, Eevin Hartsough, Jill Beckman - photo by Evan Hanover
                       

Neither the sweeping, bitter winds that tore through the streets nor the mountains of snow that overtook our fair city could keep me from joining the crusade at the Cadillac Palace Theatre for the New 25th Anniversary Production of Les Misérables. Although my fifth time seeing the world-famous operetta, the power of the story and beauty of the music were by no means dulled. In fact, with the many new elements this production entailed in addition to my four-year Les Mis withdrawal, you could even say they were heightened.

Not only is this Les Mis's first US tour in four years, but it's also the first time the show has been entirely reimagined. Nothing to worry about, though; you won't find Jean Valjean in blue jeans or Inspector Javert wielding a .44 magnum. The changes that were made, although undoubtedly meant to update the show, left the story untouched while altering instead the scenery and overall pace of the show. The original Les Mis tour was known for its revolving stage, simplistic indicators of setting, and enormous barricade sets that swung in from either side of the stage; the title stood projected onto a screen as the overture played, and the stage was generally sparse, the attention focused on the actors and music.

The 25th Anniversary Production, however, elaborated on some of these elements while cutting others out completely. First off, no revolving stage. (The one thing I truly missed.) Second, the backgrounds throughout the show comprised of images taken from Victor Hugo's paintings, all dark and dreary, which worked well to set the tone and establish the 19th century time period and French environs. The sets themselves were more numerous and complex, with many pieces frequently being wheeled on and off stage, as were the props. Comparing the two productions, the stage of this newer version seemed generally more cluttered and full, possibly to provide more visual stimulation. The overture played to a projected image of a desolate night sky rather than the title; it was only after the first fifteen minutes of the show when Valjean tears up his incriminating yellow parole sheet that "Les Miserables", in a new font, was projected onto the scrim as the mini-overture to the next song spilled out from the orchestra pit, all to much applause. This seemed very cinematic, the same way many films hold their titles until something of signficance happens to set up the story.

And the music -- oh, God, the music. Just as lovely and gorgeous as ever. Before singling out my favorite actors and singers from this production, I'd like to first pay a well-deserved compliment to the entire cast, and that is that they were exceptionally articulate. This is especially hard to come by in choral-heavy shows because more often than not when thirty or forty people sing together it's difficult to pick out all the words. This cast made sure to "kuh!" the Ks, "guh!" the Gs, and "tuh!" the Ts -- immensely helpful for those of us who don't want those poetic lyrics drowned out, as well as for those who have never seen the show and may have a hard enough time figuring out what's going on without the lyrics being unintelligible.

As for who stole the show, in my humble opinion, I'll have to start with the ladies, the lovely, lovely Eponine and Fantine, played by Chasten Harmon and Betsy Morgan, respectively. These women knew how to belt, and belt they did during the only two full-length female soliloquies -- "I Dreamed a Dream" and "On My Own" -- of the whole show. Justin Scott Brown (from the first Spring Awakening tour) played a charming Marius, with a perfectly even, professional-sounding voice to fit the part. Andrew Varela was a sinisterly foreboding Javert, his deep bass vibrato enough to send chills down your spine. And Valjean, played by Lawrence Clayton, was, despite the myraid alterations to the set, to me the biggest surprise of the show; frankly, I was suprised to see a black Jean Valjean. At first, I felt this was some sort of statement, considering Valjean's unfair persecution at the start of the show, but by the middle of Act One it wasn't something that stuck out to me anymore; with Clayton's strong, tenor voice and a gentle yet world-weary mien, he was just Jean Valjean.

Whether these changes and new additions are improvements, I cannot say, for it truly depends on each individual's taste. For me, I don't mind either way as long as the music stays the same. I wept and felt my soul swelling at the same lines of gorgeously-paired lyrics and music as I always do. I found each character compelling and complex, as I always have. The music speaks for itself. The story speaks for itself. Different sets may move around the actors, different voices may glide over the notes of the music and curl around the words of the lyrics, but if this revamped production proves anything, it's that the students will always be revolutionizing, the Thénardiers will always be conniving, Eponine will always be suffering unrequited love, Gavroche will always be patrolling the Parisian slums, and Javert will always be hunting Valjean. In 1985 and in 2011, that's Les Misérables.

 

Sex still sells. Playwright Laura Eason realized this firsthand when, in an admittedly calculated move to get a play produced, she concocted a simple two-character piece with an eye-catching, but slightly deceptive title. First staged in the summer of 2009 as part of Steppenwolf Theatre’s First Look Repertory of New Work, a revised “Sex with Strangers” returns to Chicago to reignite debates about public/private selves and communication in an era now dominated by online social networking.

Don’t let the title fool you: at the risk of generalizing, the play has a strong feminine sensibility that lends depth to a fairly formulaic conceit. In addition to Eason’s astute, yet warm writing, the play is directed by Jessica Thebus (a longtime friend of Eason’s) with an intimate, romantic (not erotic) charge; sexy, but not incendiary. The characters share an almost instant chemistry, though it is one fueled more by a shared love of words and professional envy than the purely visceral dynamic one might expect going in.

Olivia is an almost-40 novelist grappling with a paralyzing sense of failure (her first book was met with commercial and critical indifference). When we first meet her, she is holed up in a remote cabin in snowy Michigan completing a follow-up she has no intention of sharing with the world. Into this sad, yet artistically romantic scenario bursts Ethan, a cocky, self-made 24 year old rolling in the success of his blog-turned-bestselling book and soon-to-be movie “Sex with Strangers,” which chronicles his misogynistic “sexcapades” ala Tucker Max. Olivia is instantly fascinated/repulsed by Ethan’s success and the various ramifications of the blogosphere. In turn, Ethan has read Olivia’s “failed” novel, greatly respects her work, and aspires to a similar artistic depth. Of course, opposites attract. It is a pretty simple premise (almost sitcom-y in another context), but one that is mined for interesting questions regarding different generational views on identity and privacy, cyberspace as a liberating/debilitating frontier, and the role financial success (and the lack of) plays in relationships.

What this play is not about, however, is sex. The title is a commercial hook, not a preview of things to come. Yes, Ethan blogs about sexual conquests and the two characters share a palpable physical chemistry, but “Sex with Strangers” unfolds more like a brainy rom-com than titillating drama. The dialogue is sharp and crisp with both leads trading fun, incisive banter. Ensemble member Sally Murphy infuses what could have been a sad sack character with a nice mix of openness and vulnerability. Her Olivia has the battle scars of experience with the fleeting remnants of youthful idealism. And as Ethan, a returning Stephen Louis Grush (reprising the role from 2009) takes the stage with such roguish charm, you can almost see why Olivia would overlook the more immature, scumbag qualities. You believe in the pairing, despite the age and philosophical differences.

The staging of the two act play is sparse (yet nicely detailed), so most of the production rests on Eason’s writing and the leads. Kudos to Thebus for keeping the pace brisk (each act speeds by). And despite some of the more formulaic trappings of the story - and the by now played out do-it-yourself ending in vogue since “Lost in Translation” - the overall narrative arc is engaging throughout (one suspects a lot of autobiographical projection by Eason in Olivia’s career woes). Breezy enough to entertain, but sharp enough to provoke thought about the age we live in (and the ever-shifting public and private domains), “Sex with Strangers” might one day become yet another model of life imitating art: as with Ethan’s fictitious book-turned-movie, don’t be surprised to find Eason’s play dumbed down to a multiplex vehicle for Jennifer Aniston or Julia Roberts. Just remember you read it here first.

Running through May 15 at Steppenwolf Theatre Company, 1650 N. Halsted Street, Chicago, IL. For more information: 312-335-1650 or www.steppenwolf.org.

 

Aktar Aktar is four young men from Chicago who are exploring the boundaries of danceable rock music. They first released a self-titled album which pushed them out of the dingy dive bars where they found their original following. With a core group of high energy fans they had the privilege to play some of the greatest venues Chicago has to offer. Touring all throughout the Midwest at a feverish pace, recently headlining Chicago's legendary Metro last November, Aktar Aktar now brings their unique sound and high-energy stage show to Reggie’s Rock Club this Friday night, January 28^th as the band battles for a spot in SXSW. In the meantime, they are also working on their next EP with high hopes of grabbing the attention of a manager/booking agent that will push their careers into deeper waters.

Having recently enjoyed the band’s music for the first time, I contacted bassist, Bradley Haptas, to find out more about the band.

 

Buzz - What genre of music do you consider your work to be? Who are your major influences?

Bradley - I would say indie rock, but it’s really hard to try to categorize the music with one name. Every one of our songs has a life of its own and sometimes that means moving outside one genre and into another. We all have our own “loves” when it comes to influences; I would say right now that Motown is quickly stealing my heart.

  

Buzz - What can fans take home with them from your live show?

Bradley - Hopefully they buy a CD! You can really see our personalities come through in our live performance so people will get to know us a little better. You might wake up sore from all the dancing that goes on at our shows.  We just want everyone to have a good time. We really enjoy bringing people together.

  

Buzz - When did you form your band? What inspired you to make music together?

Bradley - Aktar Aktar started about 3 years ago as a 2 piece with Jake Swearson and Jake hoefnagel. They were playing a lot of house parties and smaller bars when they started getting larger and larger crowds every show. I remember Swearson saying he wanted to have a fuller sound, that’s when Tim and I joined. We recently we got a new drummer, Mr. Wes Kosakowski, after Jake H’s departure. We all had the same idea of what we wanted to do musically and the more we did together and the better we became as musicians it just felt right. Now there’s no turning back.

 

Buzz - Where have you performed? What are your favorite and least favorite venues? Do you have any upcoming shows?

Bradley - We have played all over in Chicago from the Metro to Elbo Room. We did Summerfest in Milwaukee last summer, which was one hell of a time.  I don’t know if I have a favorite or least favorite venue. They are just buildings with stages inside to me, what makes the show is the people and magic that happens inside. We are playing at Reggies Rock Club on Jan 28th, it’s a battle of the bands to get into SXSW. After that all we have lined up is time in the studio and hopefully we will be heading to Austin in March.

  

Buzz - Who writes your songs? What are the main themes or topics for most of your songs? Do you think these topics will change over time?

Bradley - Jake and Wes have been building chord progressions and the basic outline of songs and then we all get together to finish them. I would say, if anything, freedom. Its so open ended we can really develop ideas from it. I’m sure it will change over time.

  

Buzz - How has your music evolved since you first began playing music together?

Bradley - We are coming up with better concepts and ideas for our songs. When you have really good ideas you can really push yourself to see what’s behind all the doors. Every door you hit is a challenge you need to overcome, and by confronting these challenges, you evolve as musicians.

  

Buzz - How can fans-to-be gain access to your music?

Bradley - We have a Myspace, a Facebook, and our older music is on ITunes.

 

Buzz - Is there anyone you'd like to acknowledge for offering financial or emotional support?

Bradley - We would love some financial support! We would thank the shit out of 'em. All our families rule. They are always at our shows doing whatever they can to help. It’s really nice to have people around you that know your dream and will do anything it takes to achieve that dream.
  

Buzz - Do you have a record label? Are you a member of any music organizations?

Bradley - We do not have a record label or any musical affiliations. We have had companies offer us some things but nothing that we felt would be beneficial at the time. We are going to be pushing to build a team once we finish this new record.

The band is:

Jacob Swearson – guitar/vocals

Timmy Maguire – lead guitar/vocals

Bradley Haptas – bass

Jake Hoefnagel – drums

To find out more about Aktar Aktar visit www.myspace.com/aktaraktar or look for them on Facebook.

 

In this coming of age story that focuses on four choirboys (each wonderfully played by women), the audience is treated to a collection of original numbers that are both whimsical and very well sung - humorous songs and some that are a bit more thought provoking. "Escape from the Haltsburg Boys Choir" takes place in Austria and, despite the present American accents, has viewers successfully using their imagination in which the story, set and costumes are enough to create a wooded, European atmosphere.

When the abusive Choirmaster pushes the envelope much too far, four of the choirboys decide to make a break for it. However, the play is much more about an escape. The play is about relationships, self-discovery and hope. "Escape" is well rounded with smart humor, engaging dialogue and a host of songs strengthened by strong singing voices. Jeffrey Fauver (Choirmaster) and Kate Black as choirboy, Johanne, lead the cast with dynamic performances that get better and better as the show progresses. Daniel Caffrey does a wonderful job directing the large cast and the experience as a whole is tied together nicely with a live band just offstage.

"Escape from the Haltsburg Boys Choir" is playing at The Side Project Theatre located at 1439 W Jarvis Ave in Chicago through January 30^{th. For tickets or more information visit www.ruckustheater.org or call 773-769-RCKS.}

^{*Photo Top - (From Left) Jeffrey Fauver (Choirmaster), Susan Steinke (Weiss) and Kevin Crispin (Ingles)}

^{Photo Left - Kate Black as Johanne} 

Living in what can seem like an ice box for months in a row blows! However, the way Tribute Bands are treated by crowds can be additionally brutal.

Take the instance when a man, John Ritchie, was up on stage in front of a New York audience in the 1800's. Massive amounts of rotten tomatoes were thrown at him by the audience, and it lead to one hitting him smack dab between the eyes. The poor man fell to the floor of the stage, and is the first performer on record for having had rotten tomatoes and eggs thrown at him (merely because some people in the audience did not like him (www.howstuffworks.com 2011.)

Well, a Led Zeppelin Tribute Band, Led Zeppelin 2, are known to be nothing to sneeze at. Led Zeppelin 2 are snowflakes in the globe of Led Zeppelin Tribute Bands since they not only play the legendary rock band's songs, but they re-enact their previous real-life performances, as well (www.ledzeppelin2.com 2011.)
 
Let's see if they receive any free tomatoes, or the cold shoulder, from any weathered chicago concert-goers tonight.
 
First, some higher-ups at the House of Blues actually gave the excited, good-looking 21-40ish aged crowd the "Bird!" I'm speaking of the Chicago's, "The Loop," radio personality, Bryd, of course. The "Bryd" got the audience going more after saying they'd be seeing all of Led Zeppelin 1 this evening.
 
While the audience waited for the curtains to open, some eager beavers lifted them on their own. Consequently, I was able to get a glimpse, too, of the happenings beyond the curtains, and saw a guy's behind--his buns were wrapped in blue, bell-bottom jeans.
 
At last, Led Zeppelin 2 came out on stage to emulate the worshiped Led Zeppelin band--what a tall order, but the lead singer looked to be about 6ft without heels. During their first set they fell a little short due to a few instrumental oopsies, and there was one breif brain freeze. It was just about which song to play next, but the crowd seemed to care less. Besides, such incidents happen to the best of the best.
 
Pot was out and about, and to use the word in a different way, lead vocalist, Bruce Lamont, was highly noticeably deemed as a Male Sex Pot! Pairs of Penny Lanes were plentiful and blatantly showing animalistic hunger for A "Zep," a big sandwich with a filling in the middle (www.websters-dictionary.org 2011.) A "Zep" is also another name for the band mates of the original Led Zeppelin. 

Getting back to sandwiches, I caught girls and full grown ladies looking up at the members of Led Zeppelin 2 with dazed, but not confused, glazes. I caught a girl unbuttoning the 3rd, 4th or fifth button of her busty friend's top. What a sight for Led Zeppelin 2 to have seen while up on stage! Yet, they sustained their concentration on their playing and overall performance.
 
Afterall, these guys are professionals with many accomplishments under their belts. For instance, Bass Guitarist, Chris Klein, and Lead Guitarist, Paul Kamp were part of the groundbreaking, 90's Chicago-based band, Busker Soundcheck together. Busker Soundcheck earned multiple mentions on prestigious critic's "Best of Lists." Bruce Lamont has also been a lead vocalist for the critically acclaimed band, Yakuza. Drummer, Ian Lee is no slouch either, for he has the great honor of being featured in "How to Be John Bohnam--A Drummer's Guide (www.ledzeppelin2.com 2011.) 
 
To zip it up, Led Zeppelin 2's second set was even better than their first one on all levels. And after their 4th encore, I lost track of how many more songs they played after that! I can say with the utmost of confidence, though, the crowd at the House of Blues on January 7th, gave them "A Whole Lot of Love," and they proved they deserved it!
 
For more information about Led Zeppelin 2 visit: www.Ledzeppelin2.com 
 
Sources:
 
www.howstuffworks.com

www.ledzeppelin2.com  
 
www.websters-dictionary.org

While I cannot prove this, I am pretty certain the last thing on Roger Waters’ troubled mind when writing The Wall over 30 years ago was a cast of nubile and acrobatic performers artfully stripping to the strains of “Comfortably Numb.” If so, the whole piece might’ve taken a decidedly less nihilistic tone. Regardless of Waters’ intentions (working through daddy issues, rock star issues, intra-band issues, etc.), it turns out that, among its many virtues, The Wall makes a great soundtrack for the art of burlesque.

Returning for the second year in a row, Hot & Heavy Burlesque’s tribute to Pink Floyd’s bleak opus The Wall is a highly creative interpretation of the 1979 classic. Borrowing elements from the (then) double-LP, live concert, and 1982 film, the show builds its own sensual (and yet still twisted) energy. All the familiar motifs are here: the marching hammers, gas masks, military/neo-Nazi regalia, and Gerald Scarfe-like projections onto the, yes, wall. But there are also plenty of original ideas to match the teasing and titillation throughout.

Even as Roger Waters himself continues to tour with a re-vamped (yet still powerfully relevant) staging of his most classic work, there is still room for alternate, and even fun, productions like this one. While one wouldn’t normally think of burlesque in association with Pink Floyd’s music (unlike, say, that of Mötley Crüe), the two make a better fit than expected. Both rely on theatricality for maximum impact. Burlesque has a far longer, and just as colorful, history as rock and roll. And there are stretches of The Wall that pulsate with a sinister, yet sexy menace: the intro to “Empty Spaces,” the cock rock of “Young Lust,” the stomping rhythm and descending chord progression of “Run Like Hell”. And David Gilmour’s elegiac guitar tone and plaintive vocals are well-matched with some of the more sensitive interpretations in the show (the loneliness behind the performer’s mask for “Hey You”).

Largely the brainchild of “Horror and Metal Burlesque Performer” Viva La Muerte, Hot & Heavy Burlesque delivers a tasteful, creative, and fun experience. While there is ample nudity throughout, the production sticks to more of an old-school burlesque aesthetic (the art of the tease instead of blunt exhibitionism). And the cast for this year’s production is diverse in appearance (not your typically uniform, ultra hard-bodied Vegas types). With names such as Rosie Cheeks, Holly Wouldn’t, Donna Touch, and the acrobatic group Nuts ‘n’ Cherries, you’d be well-advised to check any seriousness at the door. The group manages to infuse playfulness and tongue-in-cheek humor to “The Happiest Days of our Lives”/”Another Brick in the Wall Part 2” and “Empty Spaces”/”Young Lust” (the ‘80s “sexercise” trio had the look and attitude spot-on). That said (and without revealing too much), there were also quietly affecting moments in “The Thin Ice,” “Don’t Leave Me Now,” “Nobody Home” and many others.

If you are looking for a different spin on Floyd or a highly imaginative burlesque production with an awesome soundtrack, then make the time for the 2nd run of Hot & Heavy Burlesque’s tribute to The Wall. Just make sure to leave the kids with a sitter.

Currently playing Fridays and Saturdays through January 22^nd at the Viaduct Theatre, 3111 N. Western Avenue, Chicago, IL. For more information, go to vivalamuerte.us or viaducttheatre.com.

“A Jew never laughs without looking at his wife for approval.” – Jackie Mason

Funny is a good way to be classified if you are involved in comedy. For a comedian, it is much better to be classified as a “side splitter;” making the audience hurt from the joke because they laughed so hard. Ordained rabbi turned comic, Jackie Mason, has never been classified as just funny, but only a “side splitter.” He has always been a comic’s comic.

Seeing Jackie Mason tell jokes is like stepping into the ring with a prize fighter. He will hit you with so many jokes in the matter of just a few minutes that it hurts. First he will hit you with an upper cut of a one liner. Then he gets you on the left side and then the right side. As he keeps going he gets more and more powerful with each joke told. He doesn’t give you a chance to breathe and he knows he is funny.

Jackie has been involved in the performing arts for over six decades and has become a comical legend. If you look up funny in the dictionary you find a picture of Mason. His ability to take an audience and tear them up with his jokes is just amazing. Absolutely a remarkable comedian to see live.

Jackie started out in the “Borscht Belt” as a comedian in the 1950’s. He shortly after became an ordained rabbi in his mid-twenties. After three years of being a rabbi, Jackie quit the synagogue to become a comedian. He later stated that, “Somebody in the family had to make a living.” He had almost instant success. Everybody was starting to love Mason and his popularity began to grow by the early 1960’s. He had made a few appearances on the “Ed Sullivan Show” that jump started his career and finally released his first comedy album I'm the Greatest Comedian in the World, Only Nobody Knows it Yet! The ball was rolling for the young comedian as he started to gain some momentum. He was on fire!

1964

Jackie Mason had an incident that caused him to be banned from the “Ed Sullivan Show” in 1964. During a Mason monologue, Ed Sullivan was off camera and gestured that Mason should wrap things up. The nervous Mason responded to Sullivan by telling the audience, "I'm getting two fingers here!" He then gestured back, "Two fingers for you!" All footage taken of his outburst didn’t show what Mason did with his hands. Sullivan was outraged and he was quite certain exactly what he saw. The ban lasted for a year and half and Mason made his final appearance on the show once the ban was lifted.

Mason bounced back and had a successful career within standup comedy, radio, television, and movies. He had multiple T.V. specials and appeared on several shows including “30 Rock” and “The Simpsons.” Mason also performed in the movies; “The Jerk,” “History of the World: Part I” and one of his funniest roles was as Jack Hartounian, in “Caddyshack II.” He referred to everyone at one point in the movie as a “fonzinoon” and then he gave the definition. “A fonzinoon is a guy who farts in the bathtub and bites the bubbles.”  

One of the roles that is most commonly miss-credited to Jackie Mason is the role of the Aardvark in the cartoon “The Ant and the Aardvark.” The voice was actually done by John Byner and was meant to be an impersonation of Jackie Mason. Apparently Byner did such a good job with the voice that he had most people fooled.

Currently Mason is performing a weekly morning segment on the John Oakley Morning Show in Toronto. Jackie comes on for a brief segment in the morning to throw in his two cents. He also completed a feature film called “One Angry Man.” The movie was modeled after “Twelve Angry Men,” but needed to be tailored to fit the Jewish comic. He also has completed another movie that is scheduled to be released in 2011. The movie is going to be opening in Florida and moving around the country. He is scheduled to be at The Horseshoe Casino’s theater The Venue (777 Casino Center Drive, Hammond, Indiana) on March 12, 2011.

In 2006, the organization Jews for Jesus used Mason’s likeness for a pamphlet. His picture was set next to the quote “Jackie Mason … a Jew for Jesus!?” Mason filed a lawsuit against the organization for the unauthorized use of his likeness and won. The court papers that were filed with Mason’s comments within the documents stating that “While I have the utmost respect for people who practice the Christian faith, the fact is, as everyone knows, I am as Jewish as a matzo ball or kosher salami. ”

Mason made claims that the organization had used his likeness to gain attention and try to convert people to their side of thinking. The group Jews for Jesus responded to the suit by saying, "Shame on him for getting so upset about this." The lawsuit settled, with Mason accepting the apology from the Jews for Jesus organization.

Mason has been accused of racism a few times over his career. In 1991, Mason made the comment about the mayor of New York, David Dinkins, that he was "a fancy schvartzer with a moustache." The NAACP criticized mason for his comments and he later apologized. After that he was accused of racism when a comic of Christian Arab Palestinian descent, was removed from opening for him at a Chicago appearance.

In 2009, Mason did it again. One of the worst people he could have said anything about was Barack Obama. During a live performance Obama was referred to as a "schvartzer" which in Yiddish and German it loosely translates into black or Negro. Later Mason’s comments came out trying to back pedal. "I'm an old Jew. I was raised in a Jewish family where 'schvartzer' was used. It's not a demeaning word and I'm not going to defend myself." A black political commentator Angela McGlowan defended Mason's comments and strongly disagreed that he was trying to use the term in a racist fashion. "It's easier to insult someone's mother than it is to insult Barack Obama," said Jackie. He had been chased down by reporters after the incident. He cursed at them and told them he has said worse things about other minorities.  

Mason has been making fun of politics during his entire career. He thrives off of the punch line. "If you wanted to hear politics, you'd go to Henry Kissinger, you wouldn't go to hear Jackie Mason. The reason I speak about politics is because I know I can get a laugh out of it. As soon as I tell a line without a laugh, I don't tell it anymore,” says Jackie.

This man’s comical career has been an amazing thing study and watch how it unfolded. So many comedians over the years have tried to be Jackie Mason, but there is only one problem. There will never be another Jackie Mason. He joke telling style is unique and no one can tell the punch line quite the same way.

As Jackie Mason enters into his sixth decade within the performing arts it doesn’t seem like the man will ever slow down. He has made people hurt from his jokes and stories in a clever way like no other comedian could. The side splitting ex rabbi has always been a comic’s comic and always will be.

 

 

 

Jackie Mason Quotes

"Eighty percent of married men cheat in America. The rest cheat in Europe."

"Politics doesn't make strange bedfellows, marriage does."

“It’s no longer a question of staying healthy. It’s a question of finding a sickness you like.”

“I was so self-conscious, every time football players went into a huddle; I thought they were      talking about me.”

"Did you know that the Jews invented sushi? That's right - two Jews bought a restaurant with no kitchen."

“I have enough money to last me the rest of my life unless I buy something.”