Tom Lehrer has such a distinctive satirical voice, yet many who would almost certainly love his work have never heard of him.
Those of us who have, however, often get hooked and, like me, become an absolute Lehrer evangelist.
So don’t be put off by the period in which he was writing and performing his comic songs, because many of them have a lasting legacy that is well worth revisiting.
Lehrer was a Harvard-educated mathematician who created some of the most incisive and clever musical comedy of the 20th century, despite a performing career that spanned just a few short years.
An unlikely entertainer
Born in 1928 in Manhattan, Lehrer was a bit of an academic prodigy. He entered Harvard University at 15 and graduated with a bachelor’s degree in mathematics at 18, later teaching at institutions including MIT, Harvard and more.
What makes Lehrer – and his cult success – remarkable is that his career was never primarily in entertainment. He was first and foremost a mathematician and university lecturer.
His musical career, which he treated pretty much as a sideline, began in the early 1950s when he started performing satirical songs. He released his first album, “Songs by Tom Lehrer,” in 1953 as a self-produced recording, personally paying for 400 copies to be pressed.
The album became an underground hit among college students and intellectuals, spreading through word of mouth.
Subversive brilliance
What made Lehrer’s work so exceptional to my musical ear is his combination of sophisticated musicianship with subversive subject matter.
One of his better-known songs, “The Elements” set the periodic table to “a possibly recognisable” Gilbert and Sullivan tune, while “New Math” lampooned educational trends of the era.
But Lehrer also dared to tackle topics that polite society considered taboo.
“Poisoning Pigeons in the Park” cheerfully described recreational animal cruelty, “The Vatican Rag” poked fun at religious customs, and “We Will All Go Together When We Go” confronted nuclear annihilation with dark humour, accompanied by jaunty piano playing.
As the folk revival and protest movement gathered steam, Lehrer’s “National Brotherhood Week,” “Pollution,” and “So Long Mom (A Song for World War III)” offered pointed commentary on social hypocrisy, environmental abuse and the arms race.
Lasting cultural impact
Despite his relatively brief performing career — essentially spanning from 1953 to 1967, when he largely retired from public performance — Lehrer’s influence endures. His songs have been covered by countless artists and referenced throughout popular culture.
So what explains this lasting appeal? Because lots of people make musical comedy, but lots of it is terrible, whereas Lehrer’s is not.
First, there’s the intellectual quality of his work.
Lehrer songs are full of sophisticated wordplay and clever references that reward the listener, while his precision with language, hilariously unlikely rhyme schemes (“When the air becomes uranius… we will all go simultaneous”), and delivery set a standard for smart musical comedy.
Second, there’s the timelessness of his social commentary.
While some references may have aged, many of the underlying hypocrisies and absurdities he highlighted remain (painfully) relevant. Songs about nuclear proliferation, environmental pollution, and social issues continue to resonate decades later.
These songs don’t sound 60 years old. Not even close. And he succeeded in making some very serious stuff funny, which is no mean feat.
Third, he was a decent musician!
He had excellent song-writing skills and very good performance chops, delivering his work with impeccable timing and a gorgeous glint in his eye.
And finally, Lehrer’s work maintains its shock value.
Even by today’s standards, songs like “I Hold Your Hand in Mine” and “The Masochism Tango” can raise eyebrows with their macabre subject matter delivered with such glee.
Why Tom Lehrer backed away from music and fame
Part of the enduring fascination with Lehrer stems from his deliberate retreat from fame.
At the height of his popularity, when he could have probably pursued an entertainment career, he chose instead to return to teaching mathematics.
It is, sadly, not true that he said he was giving up political satire because Henry Kissinger winning the Nobel Peace Prize meant satire was obsolete. He simply seems to have lost interest.
In the book that accompanied a box set of his music, the singer is quoted to have said, “If an idea came to me, I’d write, and if it didn’t I wouldn’t — and, gradually, the second option prevailed over the first”.
His self-effacing attitude, combined with his refusal to seek commercial success, has only enhanced his legendary status. He’s often called “the most influential comedian most people have never heard of.”
Legacy and recognition
In 2020, Lehrer made headlines by releasing all his lyrics into the public domain, allowing anyone to perform or adapt his work freely. This certainly further cemented his status as a cultural treasure.
Though he shunned the spotlight for most of his long life, Lehrer’s work has a dedicated, cult fanbase. His combination of musical talent, biting humour and sharp social commentary created a body of work that continues to entertain and provoke.
After all, it is good to be reminded that, even when facing dire social circumstances, laughter is possible. Preferable, even.
Image: Jan Persson
.jpg){kind=link}