Andrew Dice Clay
AKA: Andrew Clay Silverstein
Born: September 29, 1957
Blue Meter: Dirty
In match-ups against other comics:
Won: 1056 | Lost: 2199
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Next Tour Date
|Day & Time||Club/Venue||Tickets||Sorry no dates are currently scheduled for this comedian|
All video pulled from YouTube.
|2000||Face Down, Ass Up||Buy: Amazon | iTunes|
|1993||Day The Laughter Died, Pt. 2||Buy: Amazon | iTunes|
|1993||40 Too Long||Buy: Amazon | iTunes|
|1991||Dice Rules||Buy: Amazon | iTunes|
|1990||Day the Laughter Died||Buy: Amazon | iTunes|
|1990||Dice||Buy: Amazon | iTunes|
Specials (and other video)
|2012||Andrew Dice Clay: Indestructible||Buy: Amazon|
|2008||Down and Dirty with Jim Norton
Features multiple comedians
|Buy: Amazon | iTunes|
|2007||Dice: Undisputed||Buy: Amazon|
|2000||Andrew Dice Clay: Banned for Life|
|2000||Andrew Dice Clay: I'm Over Here Now||Buy: Amazon|
|1996||Andrew Dice Clay: Assume the Position|
|1993||Andrew Dice Clay and His Gang Live! The Valentine's Day Massacre
|1993||Andrew Dice Clay: No Apologies||Buy: Amazon|
|1992||Andrew Dice Clay: For Ladies Only|
|1991||Dice Rules||Buy: Amazon|
|1989||Andrew Dice Clay Live! The Diceman Cometh|
|1987||Andrew Dice Clay: One Night with Dice||Buy: Amazon | iTunes|
|1987||Rodney Dangerfield: Nothin' Goes Right||Buy: Amazon|
|1984||Dirty Dirty Jokes||Buy: Amazon | iTunes|
Books (by and about)
No books by or about this comedian.
Just tonight this chick is sucking my dick. And she’s like, “Don’t come in my mouth.” I go, “Honey, I don’t want to fuck up your hair. We’re in a nice restaurant.”...
Dubbed “The Hoodlum of Humor” Andrew Dice Clay began his career with dirty jokes and nursery rhymes swiped from old party albums. One of his most famous rhymes was: “Little Miss Muffet sat on a tuffet eating her curds and whey. Along came a spider and sat down beside her and said—“What’s in the bowl, bitch?” It didn’t matter that these lines, word for word, appear on a 25 year-old Sylvia Stoun LP.
What helped put over these ancient wheezes was his persona of the swaggering punk (complete with black leather jacket, greasy hair and a cigarette dangling from his mouth). It too was not original, most of it swiped from Henry Winkler’s “Fonz” character on “Happy Days.” His lack of originality annoyed other comics but his appeal could not be ignored by club owners who found big crowds craving his antics.
Eventually Clay began to develop some original material, emerging as the white counterpart to Eddie Murphy. His first major national exposure was a 1988 HBO cable TV special. Clay shared Murphy’s reverse-racist riffs, put-downs of women and gays, and delight in colorful street slang. Clay’s support was huge among lower class whites who shared Clay’s comic frustrations and anger. One of Clay’s most famous lines was not a joke but a complaint: “If you can’t speak the language, get the fuck outta the country!” It drew cheers. His exasperated point of view on beggars was shared by many of his fans: “Get the fuck away from me, you’re a piece of shit! What are ya gonna do with a quarter, open a fuckin’ business?” Clay, like Murphy, ignored the criticism and pointed to his top selling records and sell-out concerts as proof of his worth. Celebrities in the audience included Cher, Bruce Willis, Sylvester Stallone and Billy Idol.
Clay’s rising fame was fueled by controversy. If feminists complained about his abusive routines, he could point to the many women in the audience who either were turned on by his macho diffidence or appreciated his supposed satire of it. When MTV banned him from their channel after Clay deliberately performed some tasteless gags on an awards show he responded, “MTV wants to tease everybody with sex. “Look at how Madonna was rubbing herself and what Cher was wearing—and then they tell me not to say anything. It’s unbelievable…I don’t talk about drugs, sell crack, or go around murdering people…I just make people laugh.” And when Sinead O’Connor and Nora Dunn walked off “Saturday Night Live” when he was the guest host and a female keyboard walked off when he appeared on “The Arsenio Hall Show,” Clay switched gears and played the victim, sobbing to Hall, “whenever somebody is on top, they try to bring him down.”
The Clay controversy extended to ABC’s talk show, “Nightline.” Ted Koppel said of Clay, “He describes his sexual technique as, and I quote, ‘So I say to the bitch, lose the bra or I’ll cut you.’ Is that funny?” Defender Lorne Michaels answered, “Obviously, the way you just said it, no…but the fact of it is…he’s a character when he’s on stage he’s a comedian. These things function as a safety valve.” On a talk show with Diane Sawyer, Clay stressed that he was not his character: “If I was Dice to you right now, I’d be saying “So let me ask you something honey, you live alone? You wearin’ panties? That’s what Dice would do. He shocks.” Sawyer answered, “Everybody asks me that all the time.”
Clay had become the hot new controversial comic replacing Sam Kinison. Unlike Kinison, who had many defenders declaring the social relevence and satire behind his actions, few found anything positive to say about Clay. While portions of his act had some legitimate shock humor as he declared his obsession with masturbation, chronicled irritating habits among girlfriends and friends, and openly gave vent to the way his genitals seemed to rule his brain, he remained a performer critics loved to hate. He had no vulnerability. While Kinison was clearly a twice-divorced troll in pain, Clay considered himself slick, good-looking and always right. He was unapologetic, unreasonable, and uncaring. Unlike lovable vulgarians from strutting Leo Gorcey to fuming Don Rickles, Clay rarely let himself be the target for deflating gags. He told US Magazine “I’m gonna become the biggest box office star of all time, bar none!”
He was the target of endless attacks. From The New York Times, 1989: “aggressively hostile…downright vicious… the contempt expands to include anyone different—blacks, gays, the homeless, all those who might not fit into the macho, beer-drinking universe of a white lower middle class neighhborhood. Indian and Pakistani citizens are describes as “urine-colored”..the audience is more unsettling than the star….raising clenched fists every time Dice gets off another offensive sally…he seems to ignore the fascistic reverberations…” In 1990, the paper called him “a foul-mouthed, sexually obsessed, low-class bigot and misogynist.” His personal life suffered (his ex-wife Kathy Swanson filed a $6 million breach of contract suit against him) and his “star” attitude enraged the pros of the business. When he only gave Joan Rivers four minutes’ notice that he wasn’t appearing on her daytime talk show she shared her anger with her audience and then declared that if he was watching, “I want you to take one of those four letter words out of your act—and add “YOU” to it!”
The criticism got to Clay. When he couldn’t bluff it out by staying in character, he went to the other extreme, insisting he was just playing a character. When he wasn’t able to deflect attacks over his abuse of various ethnics in his act, he revealed what insiders had known all along, that he was ethnic himself, Andy Silverstein, a kid who attended Kingsborough Community College in Brooklyn and played drums in a bar mitzvah band. After the “Saturday Night Live” and “Arsenio Hall” debacles in the Spring of 1990, Clay’s hot streak turned ice cold. His debut film “The Adventures of Ford Fairlane” bombed and his follow-up concert film, the arrogantly titled “Dice Rules,” put on hold for a year.
Clay retained his core of fans and they helped his albums sell millions and they followed him into nightclubs. He eventually cut down on the more overt ethnic slurs and gay baiting, concentrating more on dirty jokes that had guys cheering and the women in the audience chuckling too. Time Magazine theorized “perhaps proving they are touch is as important to them as it is to men.” He was still a big draw, just not such a big shot anymore. Said Clay, “People are nasty. Maybe that’s why my humor has got a lot of attitude to it, ‘cause nobody likes to see people do good.”