"NOAM CHOMSKY WITH DICK JOKES:" THE ART AND LIFE OF BILL HICKS

American Scream

Cynthia True

Harper Entertainment, 2002, 297 pp.

I have finished reading American Scream, the biography of Bill Hicks by Cynthia True, for the third time. And it seems true, and good, and a confirmation and validation-if one is needed-for the rebellion of the Founding Fathers onward to today. As we face the police state of President Howdy Doody, it is healthful and needful to read about a man who stood up and said his piece, without apology or deference.

For this writer, it is a Rebel Bible, a Holy Grail for raisin' Hell. It is Dutch courage without the hangover. A necessary antidote to Freedom Werks and the Brown Shirts-I mean the Neighborhood Watch. And unless you know someone or know someone who knows someone who knew Bill, it's about as close as you'll get to knowing the man and what made him the greatest philosopher/comic since Lenny Bruce.

There are two regrettable differences between the British and US versions of the book. On the front cover of the UK version, you see Bill lighting a cigarette off of a burning American flag-a bit he did one stage during the flag-burning "controversy" of a decade ago. On the US version, you see Bill sitting in front of an intact American flag. On the back cover of the UK version there is an excerpt from Bill's censored final appearance on The Late Show with David Letterman, which has still never been broadcast-anywhere. The US version omits that quote and substitutes a blurb from Dennis Miller.

This kind of UK/US censorship has been going on for decades. The highlights include: the flap over the infamous "butcher babies" cover for the Beatles' "Yesterday & Today" album; the decision not to use the "naked ladies" UK cover of "Electric Ladyland," for US distribution; the decision to change the title of Nick Lowe's first solo album from "Jesus of Cool" to "Pure Pop For Now People" for US release. It seems to demonstrate yet again the incapacity of the American psyche to deal with simple reality and reflects our obsession with commercialism and sales.

It also points up the difference between Hicks' popularity in Britain and here. When Bill was in the United Kingdom, whether it was London, Edinburgh or Glasgow, he was regularly stopped on the street for an autograph. John Cleese, Thom Yorke, Graham Parker and Clive Anderson were fans of his work. He was respected as a philosopher and comedian. His television work was aired virtually unedited on UK channels.

In the US, however, he was known primarily for his HBO and Letterman appearances, which were ridiculously toned down from his original live performances. Most of Hicks' US fans have never seen the unexpurgated "Revelations" nor the full version of the documentary "It's Just A Ride," both of which originally aired on Britain's daring and controversial Channel 4. (In fact, the documentary was originally titled "Totally Bill Hicks.") It seems as if American genius needs to be recognized and applauded elsewhere before we "get it." Again, the Hendrix parallel (couldn't get arrested in America, became a star in London) seems apt.

Since his death in 1994, the age-old adage that a great artist only gets respect after death has been proven with a vengeance. Bill Hicks is literally more popular in this country now than he was before he died.

We now have this biography, Bill's many video appearances and numerous CD's. "Philosophy" a kind-of "best-of" from his audio work, has recently been issued by Rykodisc. It's not comprehensive-what "best of" CD is?-but it's a good starting point if you don't know anyone who has any CDs or tapes of Hicks in relentless action. (And if that's the case, shame on you and go find some more cool new friends!)

In 1997, Rykodisc produced a treasure trove: a 4-CD boxed set which consisted of all of Bill's albums for Ryko and Invasion: "Relentless," "Dangerous," "Rant in E-Minor," and "Arizona Bay." Besides the great comedic insights and observations, there is also a significant amount of music on these discs. Bill was a talented guitarist who worked with his friends Kevin Booth and David Johndrow (aka Marblehead Johnson) on the songs and interludes. He greatly admired Stevie Ray Vaughn, Ray Charles and Jimi Hendrix.

It seems that audiences, and especially critics, have trouble with artists who do more than one work. Bill was a writer, a scholar, a spiritual thinker, a philosopher, a musician and a comedian. It was, of course, the comedy that he and his audience focused on. But these other sides made up the warp and woof of his work. If you try to separate Bill Hicks the comedian from his other parts, you'll be left with a handful of threads.

The bottom line is this: you couldn't walk away from a performance by Bill Hicks and--if you were human-not feel changed. He seemed to reach inside your head to pull out the dark thoughts in your psyche and wave them around under a spotlight, as if to say, "See? Everybody's got this shit. It's nothing to feel shameful or guilty about. Now let's talk about what's really going on in your mind and in this country."

There are two things one shouldn't go looking for: work and trouble. They'll find you eventually anyway, so you might as well enjoy yourself while you can. It seems that Bill lived by the same principle. He knew that, however long he would be here, there was a lot he wanted to accomplish, so for the most part he got on with his work. Of course, he had his debauches, as we all do. Whether it's work, sex, drugs or whatever. At worst, they can be regarded as a necessary evil. At best-they are beyond words.

That's the first thing that attracted me to Bill's comedy. He wasn't afraid to talk about his experiences with drugs and sex, and he did not repudiate them. In fact, he said, anent psychedelic drugs, "I had a real good time." More importantly, he was saying that in the late 1980s, when "Just Say 'No'" still held US in thrall. He exposed the hypocrisy of the War on Some People with Some Drugs (he referred to them as "untaxed drugs") and didn't much care what anyone thought. Even though he had to tone it down too much for broadcast TV and somewhat for cable, what was left after all the network eviscerations still had potency.

God knows Bill had his share of trouble. It took him a decade to achieve the amount of success he had in the early 1990s and then, at the top of his form, he found out he had pancreatic cancer. Within a year of the diagnosis, he was dead. In that final year, he accomplished as much as he had in the previous ten in which he laid the foundations of his work. And in his final months, he found the peace and understanding he'd been searching for since his teens that allowed him to go to the next level-"the undiscovered country."

Just as we have our debauches, we have our nadirs from which we think there is no possibility of recovery. Reading about Bill Hicks and his travails and triumphs not only can give ideas but faith, that one arguably essential thing in life besides love. Faith in tomorrow and the day after that. Faith in renewal and rejuvenation. Faith in ourselves and our powers. Henry Miller may have said it better than anyone:

"We are all guilty of crime--the great crime of not living life to the full.
But we are all potentially free.
We can stop thinking of what we have failed to do and do whatever lies within our power.

What those powers that are in us may be no one has truly dared to imagine.

That they are infinite we will realize the day we admit to ourselves that imagination is everything.

Imagination is the voice of daring."

R.I.P., Mr. Hicks.

www.billhicks.com

www.sacredcow.com

www.henrymiller.org