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Ahhh, the ’90s. It was an era when people started using something called “e-mail” to communicate with each other, scientists cloned a sheep named Dolly, and then-President Bill Clinton became embroiled in a sex scandal. All of which was fodder for the nation’s comedians at the time. But what were some of the more overtly Jewish themes, topics, and trends that were put under comedic scrutiny by Jewish comics of the 1990s?
Observational comedy–that is, comedic observations based on everyday life–was a defining characteristic of American comedy in the ’90s. The master of the form, Jerry Seinfeld, was also the single comedian most associated with Judaism during that decade. His TV sitcom Seinfeld (1990-98) was a forum for witty observation of life’s minutiae, and Jewish characters, Jewish food, and Jewish religious practices consistently served as inspiration.
Photo courtesy of Alan Light.
Whether it was tricking Jerry’s kosher-keeping girlfriend into eating lobster, kidnapping a baby rather than see the wee one get a circumcision, or Jerry fearing that his dentist has converted to Judaism simply so that he can make Jewish jokes with impunity, the show was a veritable Jewtopia of Semitic humor. Jerry Seinfeld seemed at times to be channeling some of his Jewish comedic predecessors, most notably Jack Benny. Like Benny, Seinfeld cultivated the image of a lone sane person surrounded by crazies, and like Benny, he often winked at the audience.
Slapstick and Reverence
With an emphasis on multiculturalism and diversity, 1990s American culture allowed ethnic comedians of all stripes to openly discuss their respective cultures. African-American comedians such as Chris Rock, Asian-American comedians like Margaret Cho, and Jewish comedians like Jerry Seinfeld fearlessly aired their culture’s “dirty laundry.” But if Jerry Seinfeld mined ritual observances for their comedic value, the era’s Jewish enfant terrible, Adam Sandler, took a different tack.
Sandler’s characters (such as Opera Man or Canteen Boy) didn’t have their root in the absurdities of everyday life–they were larger-than-life buffoons. He presented himself as a sort of “Jerry Lewis 2.0,” a slapstick clown in a beanpole body. Sandler’s ordinary stand-up routine (free of Jewish references) was reliant on poop jokes and overt sexual references. But when he ventured into the realm of Jewish humor, he suddenly morphed into a Nice Jewish Boy. For proof, look no further than Sandler’s “Hanukkah Song.”
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