Of Crime and Comedy

So, as a way to procrastinate and not write on my book on management and crime, coming later this year from Bloomsbury, I've been watching the rather brilliant Mel Brooks: The 99 Year Old Man!, a tender documentary that shows how even the zaniest of comedies can be built on a lot of deep thinking and history. I've long wanted to write a longer work on comedy, as I find that there is much to comedy (and its inverse, horror) that can be used to think more deeply about creativity and innovation. Also, as both horror and comedy are very mutable art forms, studying them and their developmental paths can tell you a lot about how performances and narrations change. I also love these fields precisely because they are not seen as all that serious, but rather as little frivolities and thus unimportant. I've always taken the stance that for this specific reason they deserve extra attention, for it is here, in the things that gets to develop without worrying too much about legitimacy or seriousness, that the truly interesting things happen. Anyway, see the documentary, and for some background, a piece I wrote about a specific locale of comedy, one we still draw from whether we realize this or not. Now, I need to get back to crime and Crime… Alf

Remembering What I Never Experienced:
On the Borscht Belt

Some people wish that they could have visited ancient Rome, or at least had gotten the chance to see Woodstock – the real one. I wouldn’t mind either, but the thing I am truly sad to have missed in something quite different. I wish I could have gone to the Borscht Belt, and taken in a show by the real OGs of standup comedy. Where the Chitlin’ Circuit of the Midwest gave Black comedians and performers a chance to ply their trade during an era marred by racism, the Borscht Belt was a region in the Catskill Mountains of New York which served as a vibrant hub for Jewish American culture and entertainment. From the 1920s to the 1970s, this area was known for its bustling summer resorts that offered a sanctuary for Jewish families and a proving ground for many comedians. Household names like Jerry Lewis, Mel Brooks, and Joan Rivers emerged from this scene, as this was the original high-pressure cooker for standup comedy (together with the aforementioned circuit), and its influence on the trade is easy to spot still to this day.

The Borscht Belt was more than just a locale; it was an incubator for a distinctive style of comedy characterized by rapid-fire delivery, sharp wit, and a deep sense of cultural identity. Comedians who performed in these resorts had to be versatile and engaging, catering to diverse audiences that ranged from sophisticated urbanites to blue-collar workers. This necessity for adaptability and broad appeal became a cornerstone of the modern standup comedy we know today. In the early years, Borscht Belt comedians just needed to memorize a bunch of jokes (rumor has it Milton Berle had committed thousands of the 10,000 he had on file to memory), but as the audience grew more sophisticated, comedians needed to evolve.

One of the aforementioned developments was an emphasis on timing and delivery. Stars like Myron Cohen and Mickey Katz (the latter also fathered Joel Grey (of Cabaret-fame) and is the grandfather of Jennifer Grey (Baby from Dirty Dancing!)) honed their craft in these resorts, mastering the art of the punchline and the rhythm of comedic storytelling. Moreover, the Borscht Belt comedians were pioneers in using personal and cultural experiences as material for their acts, drawing heavily from their Jewish heritage, often incorporating Yiddish phrases, Jewish folklore, and anecdotes from their communities. The humor of the Borscht Belt was also deeply self-deprecating, a trait that resonated with audiences and created a sense of relatability and camaraderie, and figures like Sam Levenson and Belle Barth used this to navigate the complexities of their identities and societal expectations. Furthermore, the Borscht Belt was a crucible for observational humor, and comedians such as Freddie Roman and Dick Capri excelled in this genre, capturing the quirks and eccentricities of daily existence.

Another significant contribution of the Borscht Belt comedians was their ability to work a crowd, a skill developed in the interactive and often rowdy environment of the resorts. They had to be quick on their feet, responding to hecklers and engaging with the audience in real-time. This skill set the stage for the interactive and improvisational elements of modern standup, where audience interaction is a key component of the performance.

In short, much of what we consider basic skills in standup comedy was created in the Catskills, by Jewish comedians trying to keep up with their audiences, extending comedy to the multi-dimensional art form it is today. I never got to go, but the Borscht Belt will always be in my heart.

Oh, and if you like my stuff here, you might also like my more focused stuff on Substack. Stay classy now!