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He speaks in detail about his infamous "Seven Dirty Words" monologue and the FCC case that resulted from it (filed against WBAI radio, for obscenity), bringing it up-to-date: "Now piss has changed.
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He talks about the influences from the movies (particularly Danny Kaye's films) and early television (such as the variety series Broadway Open House) on his comic sensibilities. He then chronicles his early life through the Air Force, as a disc jockey, and as half of a comedy team with Jack Burns, leading to his first professional appearance on television on Jack Paar's Tonight Show. He notes various "breaks" along the way and talks about going solo, working as a stand-up comedian for several years, before he got back into making television appearances on such programs as The Ed Sullivan Show.
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It's such a joy, god." George Carlin's career as a stand-up comedian was marked by his irreverent material epitomized by his famed comedy routine about the "Seven Dirty Words You Can Never Say on Television." In his three-hour Archive interview, Carlin describes his early comedic talents and how, as a teenager, he would record bits on a tape recorder and play them back for friends. Cleans the system out. I mean, I love doing this stuff. And people, they cling to these things. Not my audience. My audience is glad to hear me get in there with the Rotor Rooter and the deep enema. It's fucking make believe, folks. It's like the boogeyman. We made that up. And I tell them why they don't have any rights - because your rights can disappear. So they're not rights, they're privileges…. The accolades, plaudits and verbal genuflection this guy has gotten through the years is, to my sensibilities, truly and astoundingly head scratchinh.In one of his final interviews, George Carlin (1937-2008) revels in his ability to get to the truth in life and society: "Everybody thinks they have rights.
His vaunted intellectualism is the raison d’etre of a simple dilletantish show off, likely a defense mechanism for a short, only mildly(!) clever egoist. He incongruously recounts being practically BFFs with Muhammed Ali (yeah, right) and, also incongruously, being pursued by Marlene Dietrich and ingratiating himself to Groucho and Woody and Johnny, et al., all the while dropping bon mots and “witty” ripostes that he hastens to add always got “boffo” responses (laughs). Who, by the way, is clearly obsessed with letting the world know, at every opportunity, that he went to, nay graduated from, Yale. Josh, I just finished reading Cavett’s “Brief Encounters,” a collection of his essays for the New York Times please allow my decided view in the minority: this guy is a pompous, self-indulgent, pretentious, name dropping, foreign language phrases pollinating, preening poseur.
He kept them engaged with his erudition, quick wit, and breadth of cultural knowledge. As he interviewed the biggest stars of late sixties, seventies, and eighties on the long-running Dick Cavett Show, Cavett’s easygoing Midwestern demeanor disarmed both his guests and audiences.
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(See Jimi Hendrix talk about his National Anthem performance, below.)īorn in Nebraska in 1937, “the only persona bothered to, or needed to, develop for working on camera was of a boy from Nebraska dazzled by the bright lights of New York,” as Clive James writes in an appreciation of the TV host. He had a way of making everyone around him comfortable enough to reveal just a little more than they might otherwise. Just as the avuncular presence of Ed Sullivan helped ease middle America into accepting Elvis Presley and The Beatles, the aw-shucks midwestern charm of Dick Cavett made Woodstock hippies seem downright cuddly when he had Jefferson Airplane, David Crosby, and Joni Mitchell on just after the legendary music festival in 1969.
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