Sam Kinison kicks off the night by playing with the band and gives his take on world issues before the cops show up. Aired 11/15/86
Tag: Saturday Night Live
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Pre-School – Saturday Night Live
Mr. and Mrs. Geebler are at a parent-teacher conference with their daughter’s teacher, Carl Best. Aired 11/15/86
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Sam Kinison Last Stand
By Jane Wollman Rusoff
With additional reporting by A.J.S. Rayl and Jon Weiderhorn
Originally printed in Entertainment Weekly, No. 122
Friday, June 12, 1992“That’s when you know you’re pretty f—ed up, when it makes sense to fall asleep… I was driving between Needles and Barstow… It’s about 120 miles of desert… It’s four in the morning, man… Hey, this is a pretty good time to go to sleep … (SCREAMS HYSTERICALLY) So I totaled this f—in’ car out, man!… I f—in’ totaled it! And it made SENSE at the time!…” — FROM THE “SAM KINISON FAMILY ENTERTAINMENT HOUR,” APRIL 4, 1991
IRONY OF IRONIES: On April 10, 1992, almost a year after delivering that routine on HBO, Sam Kinison was killed in a head-on collision on that same stretch of arid desert road between Needles and Barstow, Calif., the same haunted section of U.S. Highway 95 that opens Hunter S. Thompson’s Fear and Loathing in Las Vegas. A 5’8″, 275-pounder whose appetites matched his bulk, a kamikaze comic known for his piercing screams and full-bellow takes on sex, religion, and drugs, Kinison was heading for a stand-up gig in Laughlin, Nev., five days after marrying his third wife, Malika Souiri, 27. Eleven miles north of Needles, a pickup driven by an allegedly beer-drinking 17-year-old smashed into Kinison’s Pontiac, leaving Souiri unconscious and the 38-year old comedian dead.
The greatest irony of all: Everyone thought he’d die sooner. With his massive addiction to alcohol and drugs, Kinison had been pegged by his friends and even by himself for a John Belushi-style demise. He once joked with friends that he’s probably be found dead one day “with a couple of 16-year-old girls in a cheap motel with an ounce of blow and a scissors sticking out of my back.” That he should die just when he seemed to be chasing the demons from his life – not exactly clean and sober, according to the autopsy report, but closer than he’d come in years – simply made no sense. And still doesn’t. In the weeks since he died, Kinison’s friends and family have tried to come to some understanding of his death and life, especially of those last bound-for-hell years.
Analyzing Kinison, once a troubled, rebellious child and later a holy-rolling preacher, they see a study in light-and-dark contrasts. He was “a shy little huggy bear,” says guitarist Joe Walsh, and also a man who “loved turmoil – that’s what made him tick,” says comic Allan Stephan, who often toured with Kinison. He had reportedly led a Black Mass or two in his time, yet “Jesus was always near his heart,” according to former girlfriend (and Jim Bakker nemesis) Jessica Hahn. He compulsively beat up men and women, yet was so respectfully devoted to his mother, Marie, that their relationship “was almost Elvis-like,” according to Sam’s brother, Bill.
All of us are creatures of complexity, but in Kinison the contradictions ran to wild extremes. “Most people would go to the edge,” says his friend Robin Williams. “Sam would jump over it.”
This is the trajectory of his fall.
THE EARLY PART of his story is well known. Born in Peoria, Ill., the third son of four boys in a family of poor preachers, he was bred into anger – whether from his upbringing in poverty, to the devil, no one was ever able to determine fully. He worked as a Pentecostal evangelist from ages 18 to 25 but eventually found his true calling in comedy. Starting at a club in Houston and gravitating to the Los Angeles laugh circuit in 1981, Kinison got his break in 1985, when Rodney Dangerfield put him on his young Comedians HBO special and gave Kinison what he would later call “the six minutes that changed my life.”
By 1987 Kinison had sold 100,000 copies of his album Louder Than Hell, hosted Saturday Night Live, appeared in Dangerfield’s movie Back to School, befriended the likes of Jon Bon Jovi, Ted Nugent, and Howard Stern, and was pulling in as much as $50,000 per concert gig. His comedy style was unlike anything ever heard – or, in his case, unlike anything ever heard outside of a psych ward: Addressing himself to starving Ethiopians, he roared: This is sand. Nothing grows here. Know what it’s gonna be like in a hundred years? It’s gonna be sand! you live in a f–ing desert! We have deserts in America – we just don’t live in them! Why don’t you move to where the food is?
But at the same time Kinison was telling friends that he was having major problems dealing with success. “He didn’t know who to trust,” says Walsh. “All of a sudden everybody wanted to be his friend. One time he called, depressed and crying. He said, ‘Am I blowing it?’ Sam never quite believed in himself, and it tore him up.”
It was around this period that Kinison’s rage, never completely repressed but now stoked by cocaine, began to explode. A pummeling of comic Mark Goldstein in front of Kinison’s stand-up alma mater, the Comedy Store, forced owner Mitzi Shore to give Kinison an ultimatum: “I told him I didn’t want him around until he cleaned himself up. He left and I didn’t see him again for two years.”
His girlfriend at the time, comedian Tamayo Otsuki (Davis Rules), found life with Kinison too rough to take. “As a person, Sam was a complete screwup,” says Otsuki. “He had a nice, soft side, like a 5-year old boy. But he was heavily into drugs. I left him about 60 times during the two years we saw each other. He’d call and leave 50 messages on my machine in one day. I finally had to disconnect my phone and move. I had to disappear because he’d come to my house and break in. He broke the window, the door, my chairs. His ego was hurt. He said, ‘How can you leave Elvis?’”
Malika Souiri, the Las Vegas dancer he started seeing after Otsuki and who he eventually married, describes her relationship with Kinison as “up and down like a roller coaster. I stood up to Sam lots of times, and I think he respected that.” Comedian Carl LaBove isn’t quite as delicate. “It was one of those drag-down, knock-down, fight-it-out relationships,” he says. “Sam took his punches too – she’s a kick-ass girl.”
Early in 1988, Kinison’s career began to lose momentum. In February, United Artists sued him for essentially walking out of what would have been his first starring film: Atuk, a piece of fluff about an Eskimo that goes to New York. Although the case was settled out of court, word went around that Kinison was unreliable and impossible to work with. The powerful Creative Artists Agency had already dropped him as a client. Then in May Kinison was dealt a ravaging personal blow. His brother Kevin, 28, the baby of the family, shot himself to death in his parents’ house in Tulsa after suffering a nervous breakdown. Kinison was devastated and began thinking about suicide himself. “Till the day he died,” says Bill Kinison, “Sam was still moved to tears when he talked about Kevin.”
The comic’s 1988 concert tour took in less than previous year’s, but that didn’t stop Kinison from playing the prodigal. He was paying off a house in Malibu and renting a four-bedroom apartment in Hollywood Hills. He spent lavishly on clothing, mostly from H. Lorenzo’s on Sunset Strip. He ate at Spago, Dan Tana’s, and the Palm and often left 100 percent of the bill as a tip. “He was very extravagant,” says comedian Richard Belzer. “Every meal was a celebration.” Although he dieted on and off, Kinison was a binger by nature. Descending on Ben Frank’s one night in 1988 with Hahn, his occasional date at the time, Kinison ordered sausages, bacon, eggs, buttermilk pancakes, and biscuits. “The grease made the Exxon oil spill look mild,” says Hahn. “And after eating all that, he said, ‘I feel good – want some dessert?’”
And there were drugs. Always drugs. Kinison’s booze and cocaine intake, never stinting, now began to rival his food consumption. In fact, a rider in his performance contract required promoters to provide an oxygen tank backstage. Its purpose: to revive him between shows. Comic Doug Bady remembers seeing Kinison “sucking on and oxygen mask before a show. I wondered how was he ever going to get out there. He looked like he was going to fall asleep or pass out. But he would undergo a transformation almost, and by the time he got on stage, he was right on.”
Avoiding unconsciousness was also a big challenge at home. “He hated to sleep,” says Hahn. “He’d practically have to pass out first.” One of Kinison’s domestic goals was to stay up till the early morning hours to watch reruns of his favorite childhood series, The Fugitive. Among his prized possessions was a pair of bar tabs signed by the show’s star, David Janssen.
By 1990, Kinison was an outlaw. The mere rumble of his name meant trouble. His album Leader of the Banned was selling poorly, and MTV dropped his video from its rotation. HBO backed out of a projected special. On tour, he was so high one night, according to guitarist Randy Hansen, “The audience began throwing things at him and chanting ‘Refund! Refund! Refund! He was barely able to stand up.”
Weirdness was everywhere. In June 1990, a 320-pound man, who had met Kinison hours before, allegedly attacked Souiri, who by this time was living with Sam, while the comic was passed out upstairs. She fired off four shots from one of Kinison’s many guns. The ensuing rape trial resulted in a hung jury and the case was dismissed, but the incident helped Souiri come to a definite conclusion about her life with Kinison.
“The party was over,” she says. “I felt it was good for us to stop everything and start to live life to its fullest.” The two made a pact to go straight, and Kinison joined an Alcoholics Anonymous chapter, where he befriended fellow member Ozzy Osbourne. In March 1990, Kinison began telling audiences he was no longer getting high.
The sad truth was that his new leaf stayed turned over for only a few months. After that, clean and sober was more of an image than a reality for Kinison. According to Randy Hansen, “Sam told me, ‘What’s important is that the audience believes I quit. Whether I’m doing drugs or not is none of their business. What I want them to know is that I don’t encourage anything…and that I try to be a role model.’ He wanted to get rid of that image of, ‘Yeah, let’s go get f–ed-up and party.’”
It’s said that even a fleeting exposure to the AA program can affect one’s life. So it was with Kinison. Though he was still drinking, his drug consumption went down, and he and Souiri slowly settled into a routine, non partying domestic life. The industry took notice. Kinison guest-starred on a Christmas episode of Fox’s Married…With Children in 1990, racking up the show’s highest ratings, and began negotiating for his own Fox series, Charlie Hoover.
But maintaining the new image wasn’t easy. In July 1991, Kinison missed an hour-long appearance on The Joan Rivers Show because he was too drunk to get our of New York City’s Plaza Hotel. Rivers admits she was furious but says, “Sam was devastated by it. He was upset because he thought he might lose his role in his series, which was to start in a few months. He really cared, for all the talk about his not giving a shit. He wanted the success. He was a pro and knew that a pro has to act in a certain manner.”
Charlie Hoover, a series of microscopic concept, featured Kinison as Tim Matheson’s 12-inch-high alter ego. Kinison didn’t put much stock in the show, but he showed up for work every day. And when it was canceled this February after a three-month run, Kinison had no regrets. He already has a few paths mapped out. On April 14, four days after he died, he was supposed to have signed with New Line Cinema, his first film contract since 1988; the two-movie deal called for a concert film and a comedy with either Arnold Schwarzenegger or Rick Moranis. That same day, Kinison was scheduled to sign with Fox for a variety show, a comedy hour patterned after the old Jackie Gleason Show, with Sandra Bernhard as his possible co star. This was going to be a good year.
Kinison was in a celebratory mood on April 5, when he married Souiri at the Candlelight Chapel in Las Vegas. They honeymooned for two days in Hawaii. “It was the most relaxed I’d ever sen him,” says Souiri. “This time, it seemed like it was really coming together.”
Two days later, Sam and Malika set off for his gig in Laughlin, with brother Bill and other friends following in a van. Bill saw the pickup truck heading directly toward Kinison’s car. With a steep embankment on his right, Sam had no room to maneuver. Both vehicles went straight up in the air on collision and crashed back down. Majid Khoury, Kinison’s personal assistant, who was in the van, found Sam “lying on his side diagonally across the seat, facing Malika, as if covering her at the time of impact. He was trying to get up and saying, ‘I don’t understand it. I don’t understand it. How come?’”
Then he lost consciousness and though CPR was attempted, Kinison lived only about three or four minutes after the accident. At the hospital, Souiri says, “I forced my way in to see Sam. I wanted to kiss him. But when I tried, blood came out of his mouth. I wanted something of him. I wanted anything on me – even his blood. It may sound sick, but I put some of his blood on my chest, over my heart.”
The death certificate states that Sam Kinison died of “multiple traumatic injuries.” The autopsy results, released May 27, showed signs of cocaine and prescription drugs in his system. The 17-year-old driver, who was allegedly drinking beer at the time of the accident, has been charged with vehicular manslaughter. A pretrial hearing was set for June 1.
In an interview last year, Kinison said that while his career was doing just fine, life was another story. “It seems to be one tragedy followed after another,” he said. “Just about the time you think life’s perfect, and you got it just the way you want it, something else comes up that breaks your heart, devastates you. And then you gotta get over that, and try to trust again, believe again, and set up for the next tragedy.”
Or, as he said on the highway between Needles and Barstow, “I don’t understand it.”
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An Appreciation: Kinison’s Unfinished Howl
By Lawrence Christon
Times Staff Writer
Originally printed in The Los Angeles Times
Monday, April 13, 1992His piercing anger, protest now will never know a resolution we can share
None of the TV anchors knew quite what to make of Sam Kinison when news of his death came over the wire early Saturday morning. “The loud comedian,” most of them called him, struggling to make do with a meaninglessly vague adjective, then running a silent interview clip in which, with brushed shoulder-length blond hair and faintly rubicund face, he looked like an amiable Friar Tuck dispensing words of comfort and reassurance to his unseen listener.
If anything, Kinison was a manifestation of acute discomfort, and that’s why he’s remembered, even if TV’s public memory is shrouded with incomprehension.
The circumstance of his death–a head-on auto collision with an allegedly drunk driver speeding along the wrong side of a highway double line–may well have made the news on the strength of its spectacular brutality regardless of who the victim was. Obviously, Kinison made the top of the hour because he was a celebrity of sorts, a famous comedian, a show-biz person. But there’s more. While it’s saddening to see any career cut down before its arc has been completed, Kinison represents unfinished business, a piercing howl of anger and protest that now will never know a resolution we can share.
There’s no denying he was a base figure. Sam Kinison came along in the mid-’80s as a shock trooper of the American subconscious. On top, we had the sunny Reagan presidency and its fond avuncular approval of the get-rich-quick ethos–BMWs and lucrative paper chases for insiders and the thirtysomething crowd, and “Morning in America” promises for the rest of the electorate left holding its hand out. Hidden underneath, we had the palpable beginning of what now festers in abundance: urban rot, virulent racial and ethnic division, sexual rage, the dumbing-down of the young, the relentless commercial manipulation of our modern social coin–the public image.
Kinison planted his squat legs like a fierce troll by a bridge, skewed his face into a florid rage, and screamed. That was his act. There was no pretense of comedic refinement, of structure and build and the bait-and-switch line that is comedy’s stock in trade. A Sam Kinison joke didn’t hit the media wire and zip through the country like one of Johnny Carson’s political zingers. It was usually crude, misogynistic, homophobic or wrongheaded–for a while he was the most aggressively misinformed comedian of his generation when it came to understanding AIDS.
Nor was his fury particularly new. “Network’s” irate Howard Beale galvanized the country in 1977 with the line, “I’m as mad as hell and I’m not going to take this anymore.” In the ’60s, what else could you hear first in Jimi Hendrix’s rhythmically twisted “Star-Spangled Banner” but dizzying distress? In the ’50s, Allen Ginsberg delivered “Howl” and William Burroughs gave us the precursor to the primal scream–the sensation of waking up in the morning with thick petroleum jelly smeared on your lips.
But Kinison was a creature of the ’80s’ excesses and frustrations. His alcohol and drug habit were common knowledge, and he tried to do what the other prevailing wild things did. He made record albums (“Louder Than Hell” and “Have You Seen Me Lately?”). He made a stab at the movies (Rodney Dangerfield’s “Back to School” and the aborted “Atuk”). He appeared on TV’s “Saturday Night Live” and “Late Night With David Letterman” and was an MTV regular. He also played Tim Matheson’s conscience on Fox-TV’s “Charlie Hoover.”
But he really wasn’t cut out for anything other than live performance (he was driving to a gig when he was killed), and his wrestling with Jessica Hahn on his “Wild Thing” video seemed a damning symbol of the visible degradation some people will endure to achieve celebrity. Watching that video, you couldn’t tell if he was making a statement or if he was trying to see how far he could fall.
Comedians are the shrewdest judges of each other’s talent. It’s telling that none of his peers begrudged him his success. “He’s honest,” you’d hear them say. Or, “You may not like his material, but it comes out of a core of real conviction.” The comic they name as his ostensible colleague but de facto opposite, the figure they generally disdain as a phony, is Andrew Dice Clay.
Kinison was the unhappy son of an impoverished Pentecostal minister in Peoria, Ill., and for a while became a minister himself before he married (at 21) and divorced (at 25), and then gave up the calling (“I was getting too hip for the room,” he told an interviewer). He married and divorced yet again. Years later, one of his brothers committed suicide. His spiritual and sexual pain formed an underlying emotional truth that carried him a lot farther into his audience’s sixth sense than did his actual comment. There are times when it all gets to be too much, when there’s nothing to do but scream. For that, he was the man of the hour.
It’s impossible to tell now if Kinison would ever have been able to get out of the shockmeister ’80s, when he made this statement: “I’m so tired of men who’re afraid to hurt women’s feelings. Then you turn on the tube and you watch somebody like Roseanne Barr or Joan Rivers who just slam men: ‘Men are jerks . . . losers’ and we’re supposed to stand around and act like women are perfect.” It needed to be said then, but cannot with good conscience be said now, not after the Clarence Thomas-Anita Hill hearing. And where that primal scream once seemed tonic and even cathartic, now it would only unnerve us as we make our way through the white noise of everyday anxiety and urban terror.
Who can tell? He was capable of enlightenment, and maybe his new marriage might have brought him the peace he never knew. But the violence of his end is particularly haunting: a troubled man meeting a senseless, smoldering end on a strip of desert highway under a half-moon. His was a peculiarly American story.
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Why I Wear What I Wear: Sam Kinison, Tastefully
Originally printed in GQ
June 1989Luckily, his wardrobe is more lighthearted than his humor
HEY, KIDS! TRY THIS ONE AT HOME: Open all your doors and windows. Turn the volume on your stereo way up. Snap in a Sam Kinison comedy album, hit the “play” button and…
“AAAAAAAWAAAARGH!!!”
… get to meet many of your neighbors right away. Yessiree. Sam Kinison, that weird-looking, long-haired, overcoat-clad Prince of Public Obscenity, that Round Mound of Vituperation, tends to bring people together. Angry people. People who, for … some reason, take offense at his mega-decibel attacks on just about everybody. Last year, Warner Bros. Records took the unprecedented step of printing a public disclaimer – “THE MATERIAL ON THIS ALBUM DOES NOT REFLECT THE VIEWS OR OPINIONS OF WARNER RECORDS” – on the cover of Kinison’s live-concert album, Have You Seen Me Lately?
What Warners just might have been worried about was Kinison’s onstage endorsement of misogyny (“I don’t worry about terrorism. I was married for TWO YEARS!!!!) and take on rock stars speaking out against drugs (“‘Rock Against Drugs’? Somebody must have been high when they came up with that title. It’s like ‘Christians Against Christ.’ Rock CREATED DRUGS!!!) and on drunk driving (“We don’t want to. You don’t get *&%$!!-ed up to see how well you do on the test later. But there’s not other way to get our *&%*!!! CAR BACK TO THE HOUSE!!!!”)
There’s no doubt, however, that Warners is disclaiming Kinison’s remarks about gays and AIDS. “Heterosexuals die of it, too?” he asks rhetorically on the album. Then: “NAME ONE!!!!!!”
To counterbalance this screed, the record company will be including information sheets about AIDS in future pressings of Kinison’s records. But it is too later to deflect the outrage that numerous gay and women’s groups have expressed over Kinison’s sense of humor.
On the other hand, thousand of rabid fans – and a few critics, too – have shown admiration for Kinison. To them, his ear-splitting jokes are a sort of much-needed psychic Drano – and Kinison is a talented combination of Lenny Bruce, Ralph Kramden and Morton Downy Jr.
And notably, nobody has accused Kinison of putting us on – of coming by his anger and alienation dishonestly. His own life story is too authentically bizarre for that: Born thirty-five years ago in Peoria, Illinois, Kinison was the rock-and-roll-loving son of an itinerant Pentecostal preacher. When he was 15, he was sent away to a Pentecostal seminary in upstate New York. After a year and a half, he managed to escape and spent the next couple of years on the road, a Seventies hippie drifter. That’s where he rediscovered God: During the next five years and one marriage, he resumed his former life and preached the Gospel on his travels throughout the Midwest.
God canceled his management agreement in 1978, and Kinison moved to Los Angeles to break into comedy. For a while he was the doorman at the Comedy Store on Sunset Boulevard; late at night, when only the drunks were left, he’d refine his raging, primal-scream approach to comedy. Nothing much – except poverty – happened until 1985, when Rodney Dangerfield, an admirer, got him onto his HBO special. Then came the part of the deranged prof in Dangerfield’s Back To School. The the Letterman spots, the censored drug jokes on Saturday Night Live, the albums, the MTV guest-hosting, the nationwide tours, the house in Malibu, the lead role in the United Artists film Atuk – and the $5-million lawsuit UA filed against Kinison when it didn’t like either his rewrites of his attitude and shut down the production.
Kinison was taking a much-needed break from arduous touring when freelance writer Andy Meisler visited him at a rented house overlooking the Chateau Marmont, famous site of John Belushi’s final check-out. There were a couple of surprises: The offstage Kinison, a good-humored host who gladly led an impressive tour through his overflowing closets, breaks into asterisks, ampersands and exclamation points only every few minutes or so; and those trademark overcoats, far from being thrift-shop castoffs, are actually $1,400 European-designer originals.
“In the last couple of years, I guess I’ve spent six figures on clothes,” says the gnomish Kinison, not at all surprised that GQ has come to call. “I figure I spend a lot of time shopping. Eight to ten days a month, I go out and buy.”
“Yeah, I guess you could say that I’s a real clothes whore.”
I suppose the obvious question is: Do you have good taste in clothes? I think so. Especially for a large guy. I think i bring a little sense of fashion for fat guys, to be blunt. But it’s a different kind of look – an outlaw-runaway look. Half rock star, half modern kind of pirate. A modern-day bandit chieftain.
Are you a loud dresser?
No. No, I don’t think so. One reason is my size. It would stand out too much. And I don’t care for real loud clothes on men. I would say that about 80 percent of my wardrobe is black.
Which fashion trend setters do you admire?
Mostly rock stars, I guess. I’ve always thought of my comedy in terms of rock and roll. I think Sting is real sharp. I like the stuff he wears. Clapton is a very sharp dresser, too.
When did you first start wearing your trademarks – those big overcoats and berets?
Just before the first HBO special. What happened was that a guy named Tom Hedley – he wrote Flashdance, and came up with the ripped sweatshirt and all that – told me that [the overcoats] were going to be really big that fall. And I thought, Well, I can get a jump on all the other comics. It would be something people could identify me with.
And now I love ’em. They’re like those dusters from the Old West. The Long Riders, you know? And as Rodney once told me, “Hey man, you never have to worry about what you’re going to wear.” I can show up in any condition, with just about anything on underneath, and throw on the long coat and the beret and do a show.
I’ve basically kept up with one tradition: Everytime I do a television shot, I wear a different long coat. Now I’ve got about twenty, thirty of them hanging in my closet. I’ve got one from Kenzo. Another one’s from Harrods in London. I wore that one on my second Letterman shot. But it’s funny. After I wear them once in front of an audience, I don’t want to wear them anymore.
The beret? That was something that women put me hip to a long time ago – which was, if your hair is messed up, wear a hat.
That makes sense. But I noticed a lot of clothes in your closet that don’t exactly fit your image as a wild man.
Oh, sure. I’ve got some suits by Nino Cerruti, and Bernini, and a tux by Pierre Cardin. I’ve got lots and lots of dress shirts. I like those shoes by Bally, and Capezio slippers. I’m also into short leather jackets that I can just pile myself into and wear around.
Are your onstage and offstage wardrobes any different?
Well, I really don’t wear the long coats much offstage. That sort of changes the look completely. Also, up there I wear ripped T-shirts a lot. There’s something about being able to tear up your clothes. After the show’s over, I just like to come backstage and – GRRRRR!- rip myself out of my clothes. It feel great.
I guess it does. Have you always been this interested in clothes?
Even when I was a kid. See, I was raised very poor, and I got into the idea of looking good in nice clothes. I really wanted to look nice and to have the finer things in life. To look “Hollywood” and really be somebody. That seemed more important to me than to the other people around.
Which brings up your days as a preacher. What did you wear back then? Were you better dressed than your audience?
Yeah. A minister is almost like an entertainer. It’s important that he be dressed up, really classy. Back then I had forty-five suits -conservative three-piece suits. Basically, that was all I wore. I was “Brother Kinison” from the time I woke up to the time I went to bed.
And it felt good. It made me feel like an executive. Like, “Hey, I’m doing something important here.”
That reminds me: I noticed some conventional suits in your closet. Some Perry Ellis, some Ungaro. Where would you wear those suits these days?
Oh, to a business meeting. If I was going to meet with my manager or with my lawyer. If I was going to be sued by United Artists… FOR FIVE MILLION DOLLARS!!!
I detect a bit of hostility. Are you a hostile guy? Do you not like women , for instance?
Like women? I &n$*!! love women. I’m just tormented by them like everybody else. For some reason the image gets interpreted as misogynic, but it’s not.
I mean – somebody who doesn’t like women doesn’t go shopping for them, that’s for sure.
You mean you buy clothes for your girlfriends?
Sure. My girlfriends get bored every couple of weeks, and you have to buy them new clothes and stuff. I just go down to the stove and have them show me three or four ensembles, and they pick out what they want out of those.
have any of your girlfriends ever tried to change your look?
No, because I wouldn’t have listened.
How would they dress you if they could?
Oh, God. Probably big $%&*$ sweaters and some corduroy pants. Those big oversized shirts. I don’t know.
Sounds awful.
Yeah. But what else would they pick out for you? They go, “This is nice.”
“Nice” is not exactly the word. But one more question: What do you wear when you don’t want to be recognized?
That’s a problem. Sometimes I try something bland, like a jogging outfit. And I wear sunglasses, and a big hat. But I don’t know. Maybe it’s my size, the hair, the shape of my face. But people just look at me and see right through it.
I’m walking down the street and people shout, “Oh! Oh! Oh!” Then I just say, “$&%**! it. I’m dead.”
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Press Release: Have You Seen Me Lately?
October 1988
A comedy explosion has swept across America in the ’80s, and in 1985, its most potent weapon was introduced to the public, Sam Kinison. From the minute he blasts onto the stage, Kinison, an ex-preacher, takes his audiences over the edge with his powerful approach which pushes comedy to its darkest, and often loudest, limits.
Kinison’s meteoric rise to the top has brought him fans of all types, ranging from the wild heavy-metal set to the John Does of America, and he has been applauded with an equal fervor from the critics. With a non-stop work schedule that includes films, concert, records and television specials, there is no doubt that Kinison’s controversial topics and behavior will continue ruffling feathers well into the ’90s. It’s in his blood.
His October ’88 album release on Warner Bros. Records, Have You Seen Me Lately?, is filled with Kinison’s trademark hard-hitting monologues. Kinison’s approach is outrageous, challenging, and hysterically funny, and it finds him jumping headlong into monologues about taboos, preacher scam artists, the Pope, sex, drugs, and rock and roll. With titles such as, “Robo-Pope,” “The Story of Jim (Bakker),” “Jesus The Miracle Caterer,” “Lesbians Are Our Friends,” “Pocket Toys,” “Parties With The Dead,” and “Sexual Diaries,” Kinison leaves no stone unturned.
The LP also finds Kinison embarking on his adventurous singing debut on the revised remake of the Troggs classic, “Wild Thing.” After bringing the crowd to it’s feet with an impromptu performance of the song at his sold-out show at the Universal Amphitheater in Los Angeles last July, Kinison decided to record the song and include it on his album. No surprisingly, Kinison has revamped the lyrics as only he can: “Wild thing, you made me trust you then stuck a knife in my heart. You lying, unfaithful, untrustable tramp…”
Kinison didn’t have to look very far for help in recording the song. Joining Kinison for this raunchy rendition were some of his biggest fans, including such notable rockers as members of Whitesnake, Poison, and Motley Crue. The recording, which was produced by Richie Zito, known for his studio work on Cheap Trick and Eddie Money, is accompanied by a video that turns the temperature up even more with its “who’s who” of rock ‘n rollers.
The video version, described by Kinison as “everything I always wanted to be in high school,” was directed by the acclaimed Marty Callner, and teams Kinison with his rocker pals, which includes none other than Jon Bon Jovi and Richie Sambora of Bon Jovi, Poison’s C.C. DeVille, Billy Idol, Rudy Sarzo of Whitesnake, Steven Tyler and Joe Perry of Aerosmith, Tommy Lee from Motley Crue, Slash and Steven Adler from Guns N Roses, various members of Ratt, and John Waite and Jonathan Cain. It also features the notorious Jessica Hahn as the ‘Wild Thing,’ and a special appearance by Rodney Dangerfield.
Logging over 250 concert appearances every year has helped Kinison achieve across-the-board success, and his popularity knows no geographical or cultural boundaries. Following his initial appearance on Rodney Dangerfield’s 1985 HBO Special, Rodney Dangerfield presents the Young Comedians, which Kinison filled with what he terms, “the six minutes that changed my life,” Sam’s career moved into high gear. He followed up with four appearances on Late Night With David Letterman and five guest shots on Saturday Night Live, culmination in a sixth appearance as the show’s host in November of 1986. Longtime friend and mentor Rodney Dangerfield asked Sam back for his 1986 HBO special, I Don’t Get No Respect and for a memorable part of Rodney’s crazed history professor in Back To School.
Kinison then starred in his very own HBO Special, Breaking The Rules, and his debut comedy album, Louder Than Hell, went on to sell over 200,000 copies, making it one of the biggest selling comedy albums of all time.
Currently looking to develop a feature film which would combine his two greatest loves, comedy and rock ‘n roll, Kinison is sure to continue his attack on the American psyche, while Have You Seen Me Lately? challenges his audience to follow him to even deeper depths. The question is, just how deep can he go?
