By Tim Hollis
There has been a time while rural comedians drew such a lot in their humor from stories of farmers' daughters, hogs, hens, and hill nation excessive jinks. Lum and Abner and mom and dad Kettle will 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 lines the evolution of this vintage American type 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 guffawing. The publication then strikes into the films of the Thirties, Nineteen Forties, and Nineteen Fifties, whilst the verified radio stars loved moment careers at the silver display and have been joined through live-action renditions of the caricature characters Li'l Abner and Snuffy Smith, in addition to the much-loved mom and dad Kettle sequence of flicks. Hollis explores such rural sitcoms because the actual McCoys within the overdue Nineteen Fifties and from the Sixties, The Andy Griffith express, The Beverly Hillbillies, eco-friendly Acres, Hee Haw, etc. alongside the best way, readers are taken on part journeys into the area of lively cartoons and tv advertisements that succeeded via a surprisingly rural experience of enjoyable. whereas rural comedy fell out of style and networks sacked indicates within the early Nineteen Seventies, the emergence of such hits because the Dukes of Hazzard introduced the style whooping again to the mainstream. Hollis concludes with a short 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 various books, together with hiya, 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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Additional resources for Ain't That a Knee-Slapper: Rural Comedy in the Twentieth Century
At about the same time the Hoosier Hot Shots were hotfooting it for sunny California, back in Nashville a different pair of musical maniacs was invading the Grand Ole Opr y. The team of Lonzo and Oscar was somewhat unusual in that, over the course of the duo’s long career, Oscar played with three different Lonzos. The cornerstone of the act was Rollin Sullivan, who played the electric mandolin as part of the band accompanying Eddy Arnold on his personal appearances and Opry gigs. When another musician, bass fiddle player Lloyd George, teamed up with Sullivan to perform comedy material as a sort of warm-up for Arnold’s act, the pair became known as Lonzo and Oscar.
In the end, perhaps the main reason for all of this animosity was that Burns chose to use the town’s real name instead of a fictitious creation such as Lum and - 40 - Radio Rules the Roost Abner’s Pine Ridge was in the beginning. ” Just to prove that not all hillbilly comics were male or came from Arkansas, we now take up the case of Judy Canova. Her origins were about as far removed from the mountains as possible while remaining in the southern states: born in Starke, Florida, Canova apparently decided early on that there was no burgeoning market for comedians who made jokes about beaches, palm trees, and flamingos, so she formed a hillbilly act with her sister, Annie, and brother, Zeke, and they set out to wow the city folks with their talents.
Almost three decades later, Henning had a lot to do with bringing rural comedy into the even wider world of television—but discussing that now would be sorta like puttin’ the mule in back o’ the wagon, so we’ll catch up with Henning a few chapters down the road. And speaking of catching up with people, what about that even earlier general store show, Smackout, and its stars? Jim and Marian Jordan had continued holding down the counter as Luke Gray and his plethora of rural associates until one day the wife of an executive who handled the Johnson’s Wax advertising account happened to catch one of their episodes.