Bill Hicks and his friends used to like taking psychedelic drugs outdoors. They heard about a new must-do drug called X. Bill and two friends took the drug and went out into the woods, whereupon they found a clearing with patterns of emergent power. Bill sat in a lotus position while the other two walked in careful circles. After a while Bill noticed:
“The patterns you just walked describe how our horoscopes interrelate with each other”.
This is incredible. When Hicks was young he created his own comic series, starring a superhero called Sane Man, who goes round solving the world’s problems with the application of logic and reason.
As an artist he was sceptical and satirical. He ruthlessly probed hypocrisy and double standards in politics, war, drugs, religion, sexuality… and so on. He was Sane Man and yet he was incredibly superstitious. Bill Hicks believed in everything.
There is an interesting point to be made here. A key human mental ability is abstraction. Humans can lift what is significant from a welter useless or conflicting information. This means an astronomer can pick up the faint glow of a dwarf planet moving against the background of stars. It also means people can spot a picture of Jesus in a car park oil slick.
Superstition is the over application of reason. We shouldn’t underestimate how big an intellectual leap atheism still is. Humans labour consciously; the fruits of their labour surround them. The products of human effort are also reflections of the human mind. If you understand a man-made object you understand the mind behind it.
It makes sense to extend this to nature. What mind made the world? Add to this the complication of alienated labour. In this latest form of class society the products of human labour seem to have a life of their own, leading them to rise up against their creators. What mind made this world?
In an age when there’s potential to both understand and overcome the blind forces which rule humanity, given the raw levels of alienation, it shouldn’t be surprising if there’s a greater degree of superstition and belief. It makes sense then, also, that these phenomena should be combined in unusual ways. Bill Hicks was one of those ways.
A comparison: Bill Hicks Vs Bill Blake.They are both known radicals. Blake was a plebeian radical, inspired by the French revolution (during the revolutionary wars he was seen walking the streets of London wearing a French tri-corner hat). Hicks described himself as “Noam Chomsky with dick jokes”. This was an honest description from a man whose political ideas revolved around concepts of freedom and individual self-determination.
There is a secret political link between the two men. The English revolution of the 1640s was expressed in religious terms. Its motivation was not so much democracy as we know it today (although the idea was raised) but personal and religious freedom. The transformation of the state and law from an aristocratic to bourgeois context began then. The true radicals were defeated but not destroyed. Instead they exported their revolution to the colonies.
In his intro to Revelations, Hicks described how he “tracked the remnants of the American Dream”: the dream being founded on the principles of life, liberty and the pursuit of happiness. Though he would criticise manifestations of capitalism (even mentioning the word during the 80s and 90s seemed odd) he never really tried to transcend the system except in vague Hippie/New-Left terms. This is in keeping with his honesty. It’s also a moot point whether his politics would have developed over more time.
Both men held idiosyncratic faiths. Blake was an egalitarian Christian who stood out against orthodoxies held by the Church of England and of Rome. Hicks was brought up a Christian and used Christian ideas and imagery in an apostate manner.
One clearly common trait was diabolism. Blake was obsessed with the fall of mankind. Why did god allow it? The role of the devil, the leader of the first insurrection, in creating the world as we know it, fascinated him. Though it appears through his known work, this trend is most pronounced in the Proverbs of Heaven and Hell, where Blake tries to invert the whole of reality to remake it afresh.
A contemporary of Hicks described him as “Christ at his angriest”. Over the years he increasingly saw himself as a bearer of enlightenment. A heckler once told him “we don’t come to comedy to think”. His response was “well, where do you go to think? I’ll meet you there”. For him words had import. His self-expression was a fundamental, almost holy principle. The compliment to his christlike pose was Goatboy. Goatboy was at times a personification of evil and at time recognition of true desire.
Comedians past“I said ‘you’re just that close to being a preacher’. He said ‘I am a preacher, Momma’”. Mary Hicks on her son, Bill.
At the dawn of human culture all the different arts, sciences and superstitions were effectively one. Culture is a clear sign of surplus wealth. Surplus wealth is the foundation of class division and struggle. Since the dawn of human culture art, science and religion have been drawing apart.
This process reaches it’s outermost limits under capitalism, where each discipline, each genre, each sect is sharply defined and commodified, and sent out onto the market.
Stand up comedy boiled down is verbal/visual performance (verbal dominant) in front of a live audience. Stand up comedy, as we know it today is a capitalist art form. It depends upon the monopoly of public space.
You can see the pre-capitalist basis for stand up comedy in pre-capitalist spaces. Precursors of the comedian include the jester, who performed in royal or noble courts. The jester, or fool, played primarily to his patron: the ruler of the house. His job was mostly to flatter and amuse. He had licence to offer witty forms of council. In the process he could gently play on the host’s foibles and flaws. This dual role still exists in modern comedy.
Another proto comedian was the preacher, in particular the radical preacher. Established religions need homogeneity, clarity and repeatability in their message. They are crucial pillars of civil society, of organising consent for rule. In line with the state that sponsors them, their rituals are much more founded in text than performance. Think of a church or an empire without script, it’s not possible.
Breakaway religions do not have prestige and wealth. They are not plugged into networks of power. They are normally founded on revisions, combinations or alternative interpretations of prior religions. The rituals of the breakaway religion are more attention catching, performance based. This is the difference between a preacher and a vicar. A preacher has to win and hold an audience in the same way as a comedian.
The last precursor we’re going to pick on is the theatre. If we’re being accurate the theatre is more proto than pre capitalist. The word ‘comedy’ used to be a concrete noun, referring to plays where the principle characters survived. A generally upbeat framework allowed comedy, in the modern sense, to develop.
Instead of the epic, deadly sweep of tragedies, where the fate of nations would rest on the shoulders of lonely individuals, in comedies you had a focus on day-to-day life. Comedies would rest on bawdy humour, scandal, satire, Twelfth Night and Mardi Gras. A common theme was the clash of middle class and aristocratic culture (also a tragic device) and the potential comic turmoil and overturn therein.
Once you get things like vaudeville and music hall you find the direct ancestors of stand up comedians taking the stage. In time the music and dance separated from the comedy routine. All human inventions take time to find their niche. Either they separate quickly and have to refer back to the objects they have separated from, for example the wireless or the horseless carriage, or they spend time as an adjunct to some other form: the internet is a good example of this.
Man and Method.Bill Hicks’ early comedic heroes were Woody Allen (from whom he stole his first joke) and Richard Pryor. He also loved rock ‘n’ roll, in particular the freewheeling, spectacular.
Post war culture has been overwhelmingly occupied with self-expression and improvisation. It was a reaction against the rigidity of the total war machine. Rock and roll, with its promise of total liberty, was the most important manifestation of post war culture.
I would argue the promise of freedom of expression clashing against the needs of nightclub owners and the comedy circuit brought out the latent politics within Bill’s worldview. Bill’s first raw taste of censorship came with the battle over his material for TV routines. Everyone knows Bill’s final David Letterman Show routine was cut. Ten years before he was arguing over whether (perfectly tasteful) jokes involving wheelchairs were acceptable for broadcast.
Bill’s later mission was to point out how beliefs and ideologies were distorting our humanity and “making us pay a higher psychic price”. The inconsistency between word and deed in public life is the basis of satire. Bill fleshed out his satire in great detail, from his UFO experiences right up to the Counts of the Netherworld.
But Bill would take this concern one step further. Bill would often take up consciously hypocritical opinions. Usually he wouldn’t take off the mask. For example: his high period routine about homelessness (“the very idea they want me to given them the hard earned money my folks send to me every week… leech, get a job”).
Another example: in his very last TV routine he went on at length about two grade school books, My Two Mommies and Daddy’s New Roommate. He found that disgusting… Daddy’s New Roommate, not My Two Mommies, which was very edifying. There is a subtle little wink at the end: “some people would call that a double standard, people, eh?” Anyone who laughed or applauded the bulk of the routine suddenly ended up looking stupid.
Bill saw himself as trying to illuminate the collective unconscious; a tough task. Perhaps he was laying it on a bit thick, but he was very sincere in his wish. In his school yearbook under “goals” he put “enlightenment”.
His role-play got more extreme with time, developing into dark poetry. He would frequently have a cloven hoofed wolverine impregnate a banal (male) celebrity with the children of satan. Hicks was an avid fan of rock and roll. He would often wheel out his Jimi Hendrix/Debbie Gibson routine as a further riff on banality. The climax of that routine is literally horrific, but the message is clear, the endpoint of complete freedom is complete subjection.
An interesting side note, the point he bludgeons home is celebrity culture is demeaning and humiliating for all. He summed it up in the catchphrase “suck satan’s cock”, now part of popular culture. Hicks used a variant on the satan/wolverine character, called Goat Boy, to talk about his own sexuality. Goat Boy was always concerned with giving rather than receiving oral sex.
Bill Hicks made his point through graphic exaggeration. There’re shades of Hunter S Thompson. There’re also elements of Bill Burroughs Naked Lunch. Even as he, say, rhapsodised about pornography, Hicks would end the routine with an observation about the nature of pornographic modelling (how is jism being worn this year?).
All of this is consistent with a man whose prime concern was freedom of expression. Hick’s politics is best when he deals with the subject of war and, in particular, the lies that are told in order to generate consent for war. This leads us back to the original point. The bulk of post war culture has been a celebration (albeit packaged and sanitised… another Hicks hobby horse) of freedom of expression and self-determination. The war machine is the ultimate negation of self-determination.
What has Bill Hicks left us?Unfortunately much of his topical material has stayed fresh in the 15 years since he died, even down to the names, Bush, Clinton etc. The collective unconscious is still unaware of itself.
Aside from his example of relentless, questioning idealism, his life and works have left at least one practical change. You don’t need to be that old to remember the slogan Comedy is the New Rock and Roll. For a short while in the late 80s to early 90s it seemed like comedy had replaced pop music as the driving force of culture.
When Hicks began performing there were a few famous comics. Some like Woody Allen, Richard Pryor and George Carlin etc had pop culture cache. Mostly comedians were thought of as take-my-wife types, old men in suits working Las Vegas.
Comedy had very little outlet into mass media. The scope for any young, remotely edgy stand up comedian was small. Hence Bill Hicks ended up playing 200-300 nights a year most years in order to reach some kind of an audience. Comedy is not a medium in itself.
Bill Hicks was part of a group of Houston-based comedians who spent the best part of the 80s building a reputation for iconoclasm and straight talking. A British equivalent might be the Alternative Comics. While the Alternative Comics had a fast track to sketch shows and sitcoms on BBC2 or Channel 4, Hicks spent 5 years off the air after an argument over a 6-minute slot on a talk show.
In that time his act developed and became what as it is known today on CDs and DVDs. While lamenting the decline of popular music Hicks took everything about rock and roll that appealed to young people and put it in his act. He was the purest example of the alternative comedian, the irresistible rebel.
His look, his moves and routines might seem clichéd at times, if only because they are so repeatable, copy-able (from Dennis Leary to Krusty the Clown circa the Last Temptation of Krust). He is the basis for modern comedy. Ironically, for a man who eschewed organised religion, he has become a christ-like figure. He was (or at least his stage persona was) what all comedians, all questing radicals are supposed to be.
His mission to illuminate the collective unconscious was going to fail. In some cases it’s actually more fun when he deals with unreceptive members of the audience who just don’t get it (check out his 1989 gig at the Chicago Funny Firm), watching or listening to him fly off the handle. Except, of course, his mission is not over, so long as there are people who remember (and repeat) his act with joy and pleasure.
Sermon over: I’d like you all to repeat after me:
“Today a young man on acid…”