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Allen & Ginter cigarette card,1891 (Metropolitan Museum) |
I know only one dirty joke, but it's a good one. The chicken joke, I call it. Normally, I'm not the dirty-joke-telling type—too inhibited and awkward. But my chicken joke is special, beloved really, though, now that I think of it, not exactly family-newspaper material. Maybe later . . .
Left on my own, I would never be bold enough to tell a dirty joke in my column, except that Garrison Keillor, of NPR fame, is hosting an evening of "bawdy humor" Monday at the Steppenwolf. Maybe that surprises you—it's like Norman Rockwell painting a scene of civic turmoil.
Which, of course, Rockwell did. In the same way people try to marginalize Rockwell by forgetting, for instance, his painting of black girls hurrying past a mob during the civil rights era, so those dismissing Keillor as a folksy yarnsmith, his Lake Wobegon a bit of kitsch Americana alongside Reader's Digest and Currier & Ives, ignore his sharp and edgy material, usually because they've never heard or read him.
I've done both, and I think he's a genius. Don't be fooled by the bumbling Lutheran pastors and clueless senior citizens of his radio stories. Keillor is slyly subversive. Like his outraged teenager nailing 95 complaints about small town life on the church door (and, really, how many Martin Luther puns does one get in life?), Keillor has issues with the town he so obviously cherishes. During the Gulf War, he offered a stark parable of dissent about the one boy in high school who refused to wear a yellow ribbon supporting our troops.
He also wrote the funniest baseball story since Ring Lardner, a joyous, unhinged, taunting victory strut celebrating the Twins' championship. "My team won the World Series," he began. "You thought we couldn't but we knew we would and we did, and what did your team do? Not much. . . . You thought we were quiet and modest in the Midwest but that's because you're dumb, as dumb as a stump, dumber than dirt."
Keillor will last—if I had to pick three humorists since the Civil War who will still be read 100 years from now, I'd say Mark Twain, James Thurber and Garrison Keillor. Who am I missing? H. L. Mencken? Maybe. But his references are so obscure now that half his pieces already read like Chaucer. Robert Benchley? Still funny, yes, but who reads him? To survive, you have to create a world, and Keillor's main setting—the mythical American small town trembling on the brink of extinction, its residents caught in the final moments before the modern behemoth steamrolls them away--will remain. Just as we yearn toward Huck and Tom, free on their raft, so our nation will--as we wander, rootless and placeless--grope back toward Lake Wobegon.
Dirty joke alert: Skip this part!
OK, on to the joke: A timid man goes to a brothel. He tells the madam that his wife is out of town and that for this, the lone transgression in his life, he wants the wildest thing she has to offer.
The madam thinks, puffs her cigarette and casts an appraising eye up and down the timid man.
"I have a chicken . . ." she says at last, "who will give you a back rub" (for our purposes, though "back rub" is not the act in my non-family newspaper version).
The timid man agrees, and is ushered into an elegant room—circular bed, a big mirror on one wall. A small hatch opens and the chicken is shoved in (this is why I love this joke; the poor, bewildered chicken, skidding into the room, feathers flying). The man tries to … umm … interact with the chicken. But it's just a chicken. Nothing much happens. Still, the next day, he thinks, "That was fun." He returns to the brothel and sidles up to the madam.
"Um, excuse me," he stammers, "is the, ah, chicken available?"
"No, I'm sorry," coos the madam. "The chicken is with a customer. But, if you like to watch, there's a woman in the next room wrestling with a dog." Again, in the version I tell, it is a more specific form of wresting-like activity.
The man is ushered into a dim room with a one-way mirror. Another patron is seated before the mirror, gazing raptly through it. The timid man joins him, and together they watch a woman rolling around with the dog. "This is incredible!" exudes the timid man.
"You think this is something," says the first man. "You should have been here yesterday. There was a guy trying to get a back rub from a chicken."
Dirty joke over: safe to read now.
Another great thing about Keillor is how he rescues so much that falls by the wayside in our culture. Old pop songs and spoken stories, singalongs and, yes, raunchy jokes. It is safe to say that I would have spent my career, such as it is, and never been bold enough to tell my chicken joke, were I not given strength by Keillor's example.
Not that Keillor is perfect. He loathes journalists, for instance. He has his reasons, I suppose, but it still stings, personally, and seems ungracious. Were I a comic genius, at the top of my craft, producing deathless humor entertaining the world, I think I'd extend a little pity toward the middling mediocrities brushing against the hem of my robe as I stride by.
But that is quibbling—no wonder he hates us. I'll be in the audience Monday. Tickets are sold out, sadly, but he'll be back, and then there are all those books and tapes and radio programs. You shouldn't miss him just because you think you know who he is.
Left on my own, I would never be bold enough to tell a dirty joke in my column, except that Garrison Keillor, of NPR fame, is hosting an evening of "bawdy humor" Monday at the Steppenwolf. Maybe that surprises you—it's like Norman Rockwell painting a scene of civic turmoil.
Which, of course, Rockwell did. In the same way people try to marginalize Rockwell by forgetting, for instance, his painting of black girls hurrying past a mob during the civil rights era, so those dismissing Keillor as a folksy yarnsmith, his Lake Wobegon a bit of kitsch Americana alongside Reader's Digest and Currier & Ives, ignore his sharp and edgy material, usually because they've never heard or read him.
I've done both, and I think he's a genius. Don't be fooled by the bumbling Lutheran pastors and clueless senior citizens of his radio stories. Keillor is slyly subversive. Like his outraged teenager nailing 95 complaints about small town life on the church door (and, really, how many Martin Luther puns does one get in life?), Keillor has issues with the town he so obviously cherishes. During the Gulf War, he offered a stark parable of dissent about the one boy in high school who refused to wear a yellow ribbon supporting our troops.
He also wrote the funniest baseball story since Ring Lardner, a joyous, unhinged, taunting victory strut celebrating the Twins' championship. "My team won the World Series," he began. "You thought we couldn't but we knew we would and we did, and what did your team do? Not much. . . . You thought we were quiet and modest in the Midwest but that's because you're dumb, as dumb as a stump, dumber than dirt."
Keillor will last—if I had to pick three humorists since the Civil War who will still be read 100 years from now, I'd say Mark Twain, James Thurber and Garrison Keillor. Who am I missing? H. L. Mencken? Maybe. But his references are so obscure now that half his pieces already read like Chaucer. Robert Benchley? Still funny, yes, but who reads him? To survive, you have to create a world, and Keillor's main setting—the mythical American small town trembling on the brink of extinction, its residents caught in the final moments before the modern behemoth steamrolls them away--will remain. Just as we yearn toward Huck and Tom, free on their raft, so our nation will--as we wander, rootless and placeless--grope back toward Lake Wobegon.
Dirty joke alert: Skip this part!
OK, on to the joke: A timid man goes to a brothel. He tells the madam that his wife is out of town and that for this, the lone transgression in his life, he wants the wildest thing she has to offer.
The madam thinks, puffs her cigarette and casts an appraising eye up and down the timid man.
"I have a chicken . . ." she says at last, "who will give you a back rub" (for our purposes, though "back rub" is not the act in my non-family newspaper version).
The timid man agrees, and is ushered into an elegant room—circular bed, a big mirror on one wall. A small hatch opens and the chicken is shoved in (this is why I love this joke; the poor, bewildered chicken, skidding into the room, feathers flying). The man tries to … umm … interact with the chicken. But it's just a chicken. Nothing much happens. Still, the next day, he thinks, "That was fun." He returns to the brothel and sidles up to the madam.
"Um, excuse me," he stammers, "is the, ah, chicken available?"
"No, I'm sorry," coos the madam. "The chicken is with a customer. But, if you like to watch, there's a woman in the next room wrestling with a dog." Again, in the version I tell, it is a more specific form of wresting-like activity.
The man is ushered into a dim room with a one-way mirror. Another patron is seated before the mirror, gazing raptly through it. The timid man joins him, and together they watch a woman rolling around with the dog. "This is incredible!" exudes the timid man.
"You think this is something," says the first man. "You should have been here yesterday. There was a guy trying to get a back rub from a chicken."
Dirty joke over: safe to read now.
Another great thing about Keillor is how he rescues so much that falls by the wayside in our culture. Old pop songs and spoken stories, singalongs and, yes, raunchy jokes. It is safe to say that I would have spent my career, such as it is, and never been bold enough to tell my chicken joke, were I not given strength by Keillor's example.
Not that Keillor is perfect. He loathes journalists, for instance. He has his reasons, I suppose, but it still stings, personally, and seems ungracious. Were I a comic genius, at the top of my craft, producing deathless humor entertaining the world, I think I'd extend a little pity toward the middling mediocrities brushing against the hem of my robe as I stride by.
But that is quibbling—no wonder he hates us. I'll be in the audience Monday. Tickets are sold out, sadly, but he'll be back, and then there are all those books and tapes and radio programs. You shouldn't miss him just because you think you know who he is.
—Originally published in the Sun-Times, June 3, 2003