Brother Dave Gardner - Brother Dave's Comedic Style

Brother Dave's Comedic Style

During his brief time as a star among America's socially-aware stand-up comedians of the late 1950s and early 1960s, Brother Dave successfully fused a stream-of-consciousness style of addressing subjects (e.g., Lord Buckley, Jean Shepherd) with a classic Southern 'storyteller/liars'-bench' manner (e.g., Andy Griffith, and the later Justin Wilson and Jerry Clower), setting himself apart a bit from Northern Jewish contemporaries such as Mort Sahl, Lenny Bruce, and Shelley Berman. His "stream of consciousness" style got him in trouble in 1963 when he was booked by Baylor University student Rod Phelps to perform on campus. His line that went something like "I was in World War Two and I saw lots of blood spilled but it never sent anyone to Heaven" caused the audience to leave in droves. The Baylor President called Phelps into his office the next day and handed Rod a handful of telegrams complaining about Gardner's performance. Phelps had to write each sender and apologize for the remark. He had succeeded in getting Baylor to book Brother Dave because Gardner's uncle was a pastor who had developed the Sunday evening "Training Union" program then widely used in Southern Baptist churches.

Phelps went on to become an entertainment attorney and booked Brother Dave into a number of small town venues, including Temple, Texas, where the audience consisted of a number of President Lyndon Johnson's relatives. Gardner went off on then President Johnson and Phelps had to refund a number of patrons.

Phelps produced Brother Dave's last live concert on December 19, 1979, at Panther Hall in Fort Worth, Texas.

In the early 1980s Texas oilman H.L. Hunt moved Brother Dave and wife Millie to Dallas because of Gardner's proclivity to be a staunch conservative, and to not be afraid to "tell it like it was". Hunt soon became disenchanted with Gardner's alcohol and drug abuse and cut Brother Dave off.

Gardner mixed thought-provoking or confounding stand-alone one-liners, or 'zingers' (e.g., "An' I'm writin' a new book an' it's gonna be called "What Will the Preachers Do When the Devil is Saved?"", "Gratitude is riches, and complaint is poverty, and the worst I ever had was wonderful!", "Let them that don't want none, have memories of not gettin' any... let that not be their punishment, but their reward," and "Don'tcha know a diamond ain't nothin' but a piece o' coal that's stuck with it?") with satirical musings on his contemporary political scene ("...folks used to pray to God for rain, and now they call Washington,", "Say, a Democrat is somebody who expects somethin' fer nothin', and a Republican is somebody who expects nothin' fer somethin', an' a Independent is a cat that greases his own car," and "If I were bound by either party, well then, I might ferget America,"). He also told traditional, humorous Southern stories, the most notable among these being "The Motorcycle Story", "When John Gets Here" (also called "The Haunted House"), and his version of Shakespeare's Julius Caesar as set in Rome, Georgia.

Brother Dave got a good deal of comic mileage from his boosting of all things Southern, making him a latter-day version of Kenny Delmar's "Senator Claghorn" on Fred Allen's classic radio show. He smoked cigarettes during his routines, describing them as "a Southern product," and declaring "I like cigarettes - I'd smoke chains if I could light 'em." He spoke of a Southerner's culinary fondness for "a Moon Pie and an Ar-uh-Cee (R.C. Cola)." Anticipating the bottled-water market by almost 30 years, he remarked that, at Hot Springs, Arkansas, he had seen "some o' them ignorant, stupid Southerners sellin' water to them brilliant Yankees." He noted that the difference between a Northern Baptist and a Southern Baptist was that a Northern Baptist said, "There ain't no Hell," and a Southern Baptist said, "The hell 'ere ain't."

While Gardner did spin routines based on a wide-ranging social freedom, some of his material did play off racial stereotypes of his time. Often, he had African-American characters in his routines speak with an exaggerated, high-pitched, Butterfly McQueen-style accent, as in "The Motorcycle Story." In another of his routines, a black woman exclaimed, "James Lewis, git away from dat wheelbarrow -- say, you know you doesn't know nothin' 'bout machin'ry!" Although Gardner's early-1960s albums for RCA Victor contained questionable racial humor, there is nothing like the overtly racist content of his late-1960s act.