Mort Sahl was arguably one of the most influential comedian from the postwar period; a provocative politics satirist, he singlehandedly revolutionized the humor medium to make an art with a range and impact considerably beyond simple slapstick and gags. Sahl’s conversational, free-associative design — an amalgam of anecdotes, one-liners, and pithy asides — permanently raised the standup stage from its humble, toothless origins into a reputed community forum for eye-opening public commentary, and along the way opened the entranceway for upcoming legends which range from Lenny Bruce to George Carlin to Woody Allen. Morton Lyon Sahl was created on, may 11, 1927, in Montreal, Quebec. From his formative shows at San Francisco’s Hungry we membership onward, he broke all of the rules; at the same time when standup contains tuxedo-clad lounge lizards blitzing the market with gags, Sahl made an appearance on-stage dressed up in his brand sweater, a rolled-up paper clenched tightly at hand. His action was free-form and tense, veering between smart, endearing topical ointment jabs and vicious swipes; his routines understood no partisanship, attacking liberals and conservatives as well with identical furor. Both Richard Nixon and Adlai Stevenson had been goals on his 1958 debut record, THE NEAR FUTURE Lies Forward, a jittery, far-ranging affair that also tackled topics which range from surroundings raids to Dave Brubeck (for whom Sahl often opened up) to his famous “intellectual hold-up” little bit. Given the topical ointment character of his function, Sahl wrote fresh material almost continuously, and he documented regularly. As the 1960 presidential marketing campaign warmed up, he released a flurry of albums including 1960: Appear Forwards in Anger, A MEANS of Life, the very best 25 hit In the Hungry we, and ANOTHER President, which he guaranteed “Whoever the Chief executive is, I’ll assault him.” Although liberals had been vocally supportive of Sahl through the years where he bashed Dwight Eisenhower, few had been ready when he arranged his places on John Kennedy; pursuing 1961’s iconoclastic THE BRAND NEW Frontier, an archive laced with brutal JFK barbs, Sahl’s profession faltered beneath the pounds of considerable politics backlash. Although he flipped the topicality down many notches for 1962’s On Human relationships (which presented as its cover celebrity celebrity Joan Collins), Sahl continuing to struggle; his deal using the Reprise label was quickly fallen, and he was limited to golf club looks and low-paying collegiate gigs for quite some time. Following a Kennedy assassination, he resurfaced having a vengeance with Anyhow…Onward, a caustic appraisal from the Lyndon Johnson administration. Still, despite striking the comeback path, he didn’t record once again until 1973’s Sing a Melody of Watergate, accompanied by many decades of membership shows and Hollywood script doctoring. In 1997, he released Mort Sahl’s America, his first documenting in nearly 25 % century.