Duisburg, Essen, University, Diss., 2007.

Thesis (M.A.)--Georgia State University, 2007. / Title from file title page. Michelle Brattain, committee chair; Larry Youngs, committee member. Electronic text (111 p.) : digital, PDF file. Description based on contents viewed Nov. 7, 2007. Includes bibliographical references (p. 109-111).

Thesis (M.A.)--Georgia State University, 2007. / Includes bibliographical references (p. 102-104).

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on February 26, 2010). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Jason M. Kelly, Annie Gilbert Coleman, Monroe H. Little. Includes vitae. Includes bibliographical references (leaves 120-125).

Indiana University-Purdue University Indianapolis (IUPUI) / Before the “sick” comedians arrived onto the comedy landscape political and culturally based humor was considered taboo, but the 1950s witnessed a dramatic transformation to the art of stand-up comedy. The young comedians, including Lenny Bruce and Mort Sahl, became critical of American Cold War policies and the McCarthyistic culture that loomed over the nation’s society. The new stand-up comics tapped into a growing subculture of beatniks and the younger generation at large that rebelled against the conservative ideals that dominated the early post-war decade by performing politically and socially laced commentary on stage in venues that these groups frequented. The two comedians that best represent this comedic era are Jewish comics Mort Sahl and Lenny Bruce. Their comedy was more politically oriented than the other “sick” comics, and they started an entertainment revolution with their new style. They became legendary by challenging the status quo during a historically conservative time, and inspired numerous comics to take the stage and question basic Cold War assumptions about race, gender, and communism.