By Tim Hollis
There has been a time whilst rural comedians drew such a lot in their humor from stories of farmers' daughters, hogs, hens, and hill state excessive jinks. Lum and Abner and mum and dad Kettle will possibly not have toured fortunately below the "Redneck" marquee, yet they have been its precursors. In Ain't Knee-Slapper: Rural Comedy within the 20th Century, writer Tim Hollis lines the evolution of this vintage American kind of humor within the mass media, starting with the golden age of radio, while such comedians as Bob Burns, Judy Canova, and Lum and Abner saved listeners giggling. The publication then strikes into the movies of the Thirties, Forties, and Nineteen Fifties, while the confirmed radio stars loved moment careers at the silver reveal and have been joined through live-action renditions of the sketch characters Li'l Abner and Snuffy Smith, besides the much-loved mum and dad Kettle sequence of flicks. Hollis explores such rural sitcoms because the genuine McCoys within the overdue Nineteen Fifties and from the Nineteen Sixties, The Andy Griffith exhibit, The Beverly Hillbillies, eco-friendly Acres, Hee Haw, etc. alongside the way in which, readers are taken on aspect journeys into the realm of lively cartoons and tv advertisements that succeeded via a incredibly rural experience of enjoyable. whereas rural comedy fell out of style and networks sacked indicates within the early Seventies, the emergence of such hits because the Dukes of Hazzard introduced the style whooping again to the mainstream. Hollis concludes with a quick examine the present nation of rural humor, which manifests itself in a extra suburban, redneck model of standup comedy. Tim Hollis is the writer of diverse books, together with whats up, girls and boys! America's neighborhood kid's television courses and (with Greg Ehrbar) Mouse Tracks: the tale of Walt Disney documents.
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There has been a time whilst rural comedians drew such a lot in their humor from stories of farmers' daughters, hogs, hens, and hill kingdom excessive jinks. Lum and Abner and mom and dad Kettle would possibly not have toured fortunately less than the "Redneck" marquee, yet they have been its precursors. In Ain't Knee-Slapper: Rural Comedy within the 20th Century, writer Tim Hollis strains the evolution of this vintage American type of humor within the mass media, starting with the golden age of radio, whilst such comedians as Bob Burns, Judy Canova, and Lum and Abner stored listeners giggling.
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Extra info for Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century
Possibly the earliest actual “rural” comedy team on the Nashville broadcast was Sarie and Sally. Unfortunately, very little information about these two gossips has survived, although their antics were well documented in WSM’s publicity photos. Margaret Waters (Sally) died at age sixty-four in 1967, while Edna Wilson (Sarie) must have been proof positive that laughter is the best medicine, because she made it to age ninety-eight before her death in 1994. The National Barn Dance, in at least one fashion, pulled ahead of the Opry in 1933, when a portion of the weekly WLS broadcast was picked up by the NBC network and beamed nationwide under the - 44 - Radio Rules the Roost Sarie and Sally (Edna Wilson and Margaret Waters) were among the first comedy acts to appear on Nashville’s legendary Grand Ole Opry in the early 1930s.
Zeb: Why, that letter I writ ye last week. Eb: Did you write that letter? Zeb: Certainly I writ it—didn’t ye see The publishers of this shortwave hobbyists’ magazine certainly realized the close relationship my name signed to it? between radio and country store humor. Could Eb: Nope, I didn’t read it. I kept it fer these characters have been the stars of Eb a spell then sent it back. and Zeb? Zeb: Sent it back? Why, ye poor fish, wha’d ye do that fer? Eb: ’Cause hit said ta do it right ther on the corner of the envelope.
The Hot Shots joined the Barn Dance around 1933, but it seems the longer their act continued, the less truly rural they became. ” Apparently having gotten their fill of dressing like rubes during their days with Ezra Buzzington, the Hot Shots were typically costumed as something resembling college students, with snappy straw hats and sometimes sweaters with their names across the chests. They remained a fixture on WLS until 1946, when they made a hot shot for the West Coast and shifted their primary focus away from radio and toward movies, records, and personal appearances.
Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century by Tim Hollis