Ambrosetti, Marisol (26 de mayo de 2024). «Coliseo Podestá: auge, caída y resurrección de la cuna del circo criollo». Begum. «A Pepino el 88, el inolvidable personaje que creó Pepe Podestá, Marioni lo compara con 'una especie de Pinti circense, lo que después conocimos como humoristas políticos del tipo Tato Bores, Pinti o Perciavalle'. Con él coincide Demarchi, quien agrega que 'Pepino resultó un pionero de lo que después fueron los monólogos políticos de la revista, en las décadas de 1960 y 70. Hoy ya no se ve ese tipo de capocómico, pero sería comparable con una especie de stand up'.»
Nesteroff, Kliph (2015). «Nightclubs». The Comedians: Drunks, Thieves, Scoundrels and the History of American Comedy. New York, NY: Grove Press. pp. 53, 56, 58, 62, 66. ISBN978-0-8021-2568-2. «Organized crime and nightclub comedy coexisted...For a good forty years the Mob controlled American show business...it didn't matter if these clubs were in Cleveland, Portland...if it was a nightclub, the owners were the Mob...Dominated by the Mob element, there were more nightclubs in South Florida than anywhere else in the country...The Copacabana was the most important of all the Mob-run nightclubs...To be a comedian in the 1930s, 1940s, or 1950s was to be an employee of organized crime.»
Shifreen, Lawrence J. (1977). «The "New Wave" of Standup Comedians: An Introduction». Department of American Studies. American Humor (University of Maryland) 4 (2, 'Special Issue: Standup'): 1-3. JSTOR42594580. «[O]n the nightclub circuit a new type of stand-up comic was materializing in the person of Lenny Bruce...It was Bruce who moved from the slapstick world of W. C. Fields, the Marx Brothers, and Laurel and Hardy to a straight, 'lone ranger' approach to comedy. Added to his one-man routine was a base, sexually oriented humor mixed with the urban sophistication of an intellectual. His scathing social and political satire was not built around the old jokes of vaudeville but on new 'free form' routines that many considered 'hip.'».
Oliar, Dotan; Sprigman, Christopher (2008). «There's No Free Laugh (Anymore): The Emergence of Intellectual Property Norms and the Transformation of Stand-Up Comedy». Virginia Law Review94 (8): 1851-52. JSTOR25470605. Consultado el 16 de septiembre de 2020. «Lenny Bruce...did not start his career as a pioneer, but as a typical Catskills 'toomler,' performing a clean act filled with hokey impressions and material liberally appropriated from other comics. After achieving some initial recognition...Bruce began making changes to his act. He began writing all of his material himself (a radical concept at the time)...The descendants of Sahl and Bruce comprise the majority of working comedians today.»
