RADIO COMEDY: Snx ORIGINAL ILLUSTRATIVE ~ SCRIPTS

Home , Fred Allen, Here Alone, Lum and Abner, The Fred Allen Show

RADIO COMEDY: snx ORIGINAL ILLUSTRATIVE ~ SCRIPTS

Thesis. for the Degree of M. A. _ ‘ MICHIGAN STATE UNIVERSITY GREGORY DONALD ST EMEN 1972

g - w-..‘;‘-‘ IIII IIIIII II II IIII III II IIIIIIIIIIIIIIIIIIIIIIII 3 1293 10513 89 '. "" University

ACQZLEI‘LT

[11,3310 crx‘w‘nr c: *r r 'r 791’ ‘43.); 5.} 1‘. 933.: I..)..L...L1

ILLUSTRATIBE SCEIITS

By Gregory Dane Stow”

“- * ‘~‘\‘.-f‘r’°"-'- 1". "I‘m.“ (7" tAJ.iEJ (J, (-1. L 3'3 I '1.th in." .31‘. c"--M' $11”) ’;;31«-L”.'.'t;) ' “\- "\"‘.\" {4.3: "ﬁll (.UJJ'.‘ "II‘."““'I:"':"".‘ .th .L. ..--J ta, 1'3 G 03.CI.C-n 1".

A"° of 55335 Cumﬁdy from 1932 O 1339. Inc

OI nuorIc .n huxcr r; abriof 131 ut‘cory of 003213 programs in the

Golden Age of E3310; V30 cri3inal radio 603333 drama scripts with aocsmpanying h30k3round and an 31"ses; two original radio cowowj v: Iriety scripts w 331 aooon;33nying backgrouﬂd and analyse3; and two original modern raLio comedy scripus with accompanying analyses.

The major finding of this thos is is in the f01~m of

the six 33110 comedy 80? pts. Thc 03o so13.pt3 are written

I I =r‘. . \.‘v o prairamu and e. 316 to demo nstrate

from analyses of actual ink "3 an undors t’mn 33 of comedy 833 Ituxor t-rn 12198 used by

American radio 60333‘ 'C1“ Ah 195 “hi 1« , The two modern

2 - w —. it -' ‘2’“ r .7 ' -.-",.'. , -,’ --"-‘ o N - 3330 camouv v borIovb .2 are MPILLII as a pxxoh;o.A:l 91plic;t;on I" a. 17“: 3‘: ~ ”5,- Q L n n \J. .3 V._-, &:I L. ,_ .. , £51 I t ‘

OI ‘- t~1 In» !\ cgildutn r ‘V g ?t' t oi ‘ ' J~ b - , C old . ,1‘, A n3» H“ OI n LLLIUT" 1 LL; ‘ln. L3,' w. p-o3- a 7‘ 0." n.. \ an

T} Q 1 .3 9-! 1 7 a- «g n 's- «1 ".,'f. {its t 3.3;; ﬁfr'. 1V (..g‘./ .1 k't .:’ .35. t' 1" 1L4\\q’5.3 A ..‘.. W.» ' '1) ’4 “5/ C-‘r_..‘--~L

tile 1r 1..-.:-.!L:..--~...1“ ‘..-" 0" ‘ (I 1.3 :x. .‘..\.-.7 ’5‘”: v maul.» (1 r': ("."5 .‘J. Ll’l 3", $n.L.'.,}_ .-" ~'.u’y- tainerLdiai ’- I1. \ ' .m‘rv.‘~n .t- .v 7”,.1... ’_ 31.14.1234 . u; ~ 4‘ 3.1} In. 3 . ‘21,.“ Luau} ﬁt a,u .3. bwc :‘lehi (1..ij Li.'\.'..iL " ,a‘u.’\ 1"

loss Oi a radio 313, byunﬂarﬁ -. “a”... .. to to iticiLn .... 3- . 133 ‘1 .L. b0 the .. cc . Aicil . ‘1

6 ,. - . - . . ¢ - “-3 1 .‘g‘ A. .- mi ‘. -. ' '5‘. -'L‘ V. \ a . ‘ 03 333330 c zmuiig duo, use Gr- ~. so (:I the :Liocn I’m-3 0" of Radio.

ﬂ .cthces “3"- ‘- I” t OI - study 01‘1"" included u" ”? ’s.‘q LlSt" -' Mn D: 4 to .roadcast r 4-

reccr'Ine‘ and readings on hu:.:w and early radio history. .I Q The accuracy of the ass yses of the radio ccmady pregrams \ was enhanced by listenin3 to actual pro3rcn recordings that were broeic‘st recently on radio or heard f1.m re cords or

»815.i0 tccrs cI curl” radio broadcasts. T3333 of comedy, humor teehnimgics, hrmcr cc mLt, and az“co~e scpesl t-.’ere .L notm of p:”: 3rcms and ccrysrcd to the othor progrsLs in the

sﬁuo or lifitiint cs13e3ci ios, th> categozics of re dio coma dy

“33313 CCLorcl V3ri*:y, .caccy Varictr, 3L3 cmcdy Drama.

Those bro. 3 lcsst soalysos were supplemented by critiqu es and discussions of radio comedy, radio histor", ard liumor by

the co "°*13 them wlvcs, breadcasti n3 historidas, pr03 -ram

critics, and scholars in the art of humor. The data and analyses were then used as a background for writing the six rad io coznedy scripts. The rationale of ccmcdy writing techniques used was recorded to accent: ry tﬁe scripts.

The end of the Golden Age of Radio Cﬁomcdy marked the end of a great period of American.humor. T1113 thesis analyzes the “3dio conedj huLw rand proposes a rebirth of EADIO 03133:: Six chezugr

'1" --~?-r'-rgv-. 'gp- 9v1~1 rs ﬁr3~wm1rj [.11'. r , .LLJinb-J a. L23 .. . €54 GLAD“; .4. .3...)

A THESIS

E=ubmitt3d to b1 i ch1 {TE 3'1 Sta. $93 "111J;*51I33,' - in parL L18' 1 f u- 11 llﬁen 01 11 "I .c raquiraments for the dag?ce oi

IIASTE OF ARTS

Department 0f Televiovon and Radio

1972 I? II“ «(III

fig. ILflflpPflr ”5*...ou vb . Engels. I?! J .M p , a fxCCh." " \“ L . '._-1. Q by " J”: L413 ’ 0"1 $0.11- ~ ' '1‘ J- L13] " ’ 01. ' MA U1 ..‘_. I" ! LI;.-1,~,-,1"ul.‘:C—3.1ufil~wlk ." l" . w 1'.- 012 I“

T013VL11QA 1,: q: . 131 , . ,'~ 1-1“; 11910, - unlL,:dr\‘ w -, . o: ‘2‘ CCthfli¢uulQfl ‘ .1- .. .-_.L..' ,. AltS, fl .1 hicnigan ' ‘ I. v-x'fl‘ Q1199 g‘ '- 4L- bn1v9121.;. T; ~-- I . O I.LA Q :fir,111 ~ . 3v" . ' ‘ '.'£u1111lmeJE . (' fl. . ‘ I of ‘Ame

I‘equll'ki».c..ﬂi-S . Q '1‘ '| ’ 3 T ‘ (.313 G L1 L133 . 1151.3‘ ,- .'\‘ JD CI" . CI, I“ Ar ~ J. 1,8 111,311; 3 0‘ —- , .

UlyEULer ' .. 1. o1 L.) ("‘1‘.‘ 1uealb 1—,: ..

‘t V r1123 C U dl‘.) dians all.

iii l‘wr 0", {1/12 7v:‘:‘l,~"_\

I. k'm IL: ;... ‘\.a-U‘ .r'hJu‘v. H a}

Thanks to .10: :22? Artaur szld fer his W ti:nca

mi assistance; 10 the IM rt.;nt of Tel 61151 2n and Radio for use of ths Auaio T8?n 12.01-0 Archive of Broadcasting

History; 21d to I 10m and D2d for nrkL gall of his possible.

iv . , . ', n - 1"‘—1"'1‘.“‘. _. r‘;‘,-‘\ TJ" , . (x'l ‘ l 4 - \I A— ....:;‘.-J Hulk ‘ -«A.\ ..‘..u|.:‘-'»'o’.ial

IN‘RQQF‘NTC" TQ’J ‘5‘."4-H-l annu- lﬁ...9.0.0...00...... C‘......

Chagter

I. CII'J ' C. .‘i'lii‘LTCf-‘aa J“""11.I1:U;IS, NED HI. S'ZEOI’Y o}.

1"513331EIC. I EILJLKIJ‘LO‘C.....OO...... O.I....0000...

A? \ T‘\‘U' II. B?“ )T-O C"tU-LJ-LOO.0000.000OOOOOOOOOOOOOQOOOOOOOO

III 0 C023DY DQAII‘FA - ” LUEI A} :D tilic .3213.“ c a e o o 0 o o o o o o o o o

"" V‘x.’ $0. “1.2.: “i ‘ri- IV. CO}. ZLDI 111111.!1 - "11110b 'N' [END-L ‘...... V. GS) #21 “’2222 _ “222 22222 222122 ~22 7“! .‘ .-_- " r ('..1 arv‘ ('1‘:'r\¥‘f, 11.1...LLH itKVLIALHA. 533‘ V" coco-0.0000000600000000 VI. 1222221'22 002223 VAR 211 _ ”222 J: CK

hix‘irin Qi~i-‘:-'.i’;acocoon-000.000.000.00000.90.0000.o

VII. I'NFTIJLJ COIZL‘DY 13.723133: - “CH 1113?;3' CL‘UII'IIII f 0““Au"to.oooooooeooo0000000oeoooooooOOOOooooo VIII. mensrn exznv nuann — "223 222 22213? J12 223'

7 ‘ 0* \ no COI‘ICLUQJ-OI‘Iooooooooooooooooooooooooooooooooooo

BIBLIOrVE’B‘ftpl-IYO.00...0.0.0.000...OOOOOOOOOOOOOOOOOOOOOO -- 7m 7221;» r~r~r ii£ $ :iOJ-JHJ 'W J. \a'Ii'T

‘ihis :rxm- % u ‘bld, this z sass, 1, this L}. «. goli mine. u 1 A ....5. t—rse

statement of fa ot frczn a cornstnte exeozztive about his work?

From a Texan oil millionaire? From on ECVV“"S hg agen y

presiccnt? F263 2 colleee JPOfOSSOP? Possibly. Believe it

or not, these S€VL’ n words portray a pest e:i.io comeaian's

attituic t"a,d his work: 0212 of the greatest mirth “asters who etc r fired \Jr L132ys of volatile vocs wit an? humor at

i' ‘3'“ f" ﬁr’f‘T‘l’.‘ .. c.1232 tt'f‘ .rm’: <.- affable and Cf: C1115; ' 3.41.“! U) \- L'b —'~ 1-

r' "«I WV r1!-“"(.L\J\w"- 41..

this ‘ is a perticsler . . ' ~‘ ...- Oomccisnks ,Agj- r‘-.. ..4 ’ , -y View :- V oi p ‘.his - :"I v.* Lurk, 2" it shoe; 0

not be goner ralisei as egplying to all in his field. (D "ein- '1! 6‘

1y no business will deter Jack Benny if t‘risre is a gold mine

involved. Re dio ceineoy in the Golden Age of hadio did not

simply hoppe n to be at the end of a rainbow fOr millions of

Americans to enj y. Radio comedy grew Witll its medium, sometimes peinfully and 223 stardly, but it 2*ew to its full- 3

grown glory in an ago now dotdo~the r Golden Age of Radio. \ The meaning of “The Golaei Age of Radio" is perhaps vague. For this writing the Golden Age of; indie is the age of growth and success in early American ra &:.o history between 1922 and 19G9. In reference to tlie Goloo n Age of

Radio Ccsedy, the specific dates the author hat 3 chosen are

1“The Woxld‘ s N orst Jv' 3101," T12;, April 7, 19G7, 75. .43..-. _. \(u I‘IA[II|V\'.. .I .1

It: . 70 .4, '_‘ok dry a I- A A .2. . n 4‘. JUL. .- I' i. 43.3 '1 . . .1. , -H J. -. I. . ~ -.. .‘ ., (‘__rx-;. 1,, . .. "1 , 1 , .. , N, f$ O .11 “E L' ¢ 6.}. { 6.“ ,,, J J. J'. i L: 1;. . v 9 L‘s‘ .‘r l.- 6. 1-. I,“ \l .3. L: H 1", u: '__ ‘ 3..-; ‘v' 1.))” 1'“ :_‘.. ' .21, LI 1:1

StiktalOLl -v'-‘ ~ ' -. ‘udU, T .‘r-J, ‘.lr{j‘41q..‘. ' ~ -‘.‘ if, ‘u14kt“! N- Jullwfm‘g‘fs .4 r! rn' it.;c."-.L‘.'..-.firs "u ,‘ 'J'p'o'. 1.13;; "» ' incl.: "' Myllfl .T " ' in “The I ri: st icol, to June 26, 19H9, the last trip down radio's “Allen's Alley“ on “”he Fred Illv: n Show.“2 Radiofls use, of course, dutes cxcre 1920 in us: in point-tempo coe'znicscion anvil on on o"“cr’ncr 31 or n319trur bssis; it date 5 beyond 19“9, but only is s declinln medium of live enter sin mnt CC‘n'“'d to television. The Golden Age of

Radio ise motelgic reference to memories of a period of

An crican hi tory t?; at producze d 8 me of the are next st mas o; cs of the air waves in emi oztss 0 ‘nrcnt end infer.-tlon the

Americans have hssz‘d or seen in the tJentieth centui ry.

This s primarily e creative analysis hesis, rsthc th: in a historical or scientific study of radio comedy in the Golden Age cf Radio. The l;sic ri‘woss of this ,ryetiVi thesis is to denonstn ste an un -r‘.t01cin" of the techniques, the style, and the content of American humor in conedy prcvrems of the Golden Age of Radio by practical applies tion of that understanding in the form of six original radio comedy scripts. Four script' are written as examples of the

Golden Age of Radio Comedy: no comedy dress scripts,

"Amos 'n' Andy“I and "Lum and Abner,” and two comedy variety scripts, “The Edger Bergen and Charlie thaLrthy Show" and

“The Jack Iienny Show." The first three scripts a: e written as if for use so:tetime in the Golden Age of Radio,

Vin I) ‘ ”01350102173 “ 1‘ "' &O-.« ’ ’ ur‘ 1 1:..NLAV. .‘ "-” f: .D T.” 2) «91’ u.“ ”w... -—.d\- A“... -.- a... u.‘ {-VM.|_ - Am.-vvu_ o.“ (NOW YOTk'r CI {)ssot & DunicP, l or}, 1Q. L3, CE. corresponding t: their i..tl."cr :ohesuo. ”u? :2 1y file's.»

minute formats of “Axes ini.dniy” and “L22 and Abner“ “re

31": QLd in 4‘7'2403 LAMA» earn-2‘.» 5-VL s... “Var:- Luv my;("av-2422'.“ aLoU 1C! ‘7’ ."u ”Ff‘hrtz. or...“ .LJy.k"‘-v_nuRg’lrv-nga 12...... T31.-2-.~;-~;2.. c,...n our.no." Charlie thcrthy Show“ is e shortened h2.f~henr Version of

the actual hour-long version of the “021': and Senbcrn Hour“

to porni a more cond:nood study of thor in that show.

Al hough the first three scripts are written as they n2ight have been then, "The Jack Benny Show" is revised somewhat as

a script intended to be se-d icuod on radio, if that were

possible. The helfwhcnr script is, in this case, really to

shows in one, r"ciuoe it is a Jack Benny Radio Special

tribute to Fred Allen. In the how Jeck visits "Ille M‘ Alley,” as the 12

Two fifteeewminuto original modern scripts are to

demonstrate an understanding of hing? as a practice

applicetion of that understeiding to pilot radio comedy

scripts for possible current use. ’heir style and content

were determined by what the author decided would possibly be

successful as re ad lo entertainnont today.

The four old radio comedy precrcns se elected for this work (including their stars), are, in tie author's Opinion,

the best representatives of Golden Age of Ra Mi comedy

programs. Of comedy in the three main kinds of radio pro

grams (general veriety--"The Big Show“ or “Kraft Music Hall,"

comedy vericty--"The Fred Allen Show" or “The Chase and Sanbcrn HOLW ," and comedy drone-“Wenos 'n‘ Andy" or "Easy

Aces"-—these referring to radio programs with comedy), ~omedy ' I- - v- - ‘s — «a, a 1:5 r .1, U}. \ a (x P. 4',- ﬁ ‘1’! (‘1')1“ ‘I }I‘( r a '11”), f; 1 j 't‘NF lg ,3 (1‘- ‘, ti J \ k I .o$)': g’: M” v'ﬁ.‘ k h)

or C , 311E; ’r‘ ’v- - (J. 0... ~ \,f v- r h 'TU] 1/ (- ‘- ’, u A- ‘0 i, " ' “‘ )0 ‘ «L1. “ P ~.LK.L\.¢U’ 1"!~ q~ p +1 v"; (k.

we ‘est e"**“'as of oc**‘v in each of EKCI.’C t o (lttﬁcrl s of I: one to 35y projroms are unto in thls ornlyois. Underm stand that the ceroral vcr ety outscory was, in feet, a

source of Ecol comedy end humor; however, in the outh 1sora

judgement the :rogroms were not irtended by their producers

Specifically for regular, con istcnt, vvwhlv com m1y sketches and rcu P185. Coreov wee not t‘ocir pz1znory entertainment

theme--veriety was.

The eclectic n of these best comedy programs in the

Golden Age of E3 dio has based on stiff selection criteria

in the cmec 4

r drama (- and comedy variety cats . First, f\ program po apulerity. Second, length of time the program was on re C.io. ,tulrr, the tel:nt of the Jrogroms= star s) or host(s), as recognized by historical critics or by fallen comedians. Feta th, the comic talent of guest stars or the cast of the program.' Fifth, tile conedy material used in the program: originality, delivery, style, technique, and degree of difficulty to produce fresh, funny material each day or week. Sixth, the general reactions of people who heard the actual broadcasts of programs in each category.

Seventh, as a member of the audience of prozrems studied in each categoz y via listening to tape recordirgs of actual broadcasts, my own judgement.

Perhaps a vzricd pe.relle1 to the Os: r or Emmy Awards may help here. The audios? s for he d Q 9 stihction of being t" I)

- mﬁ -" u. ~ 4.. 4-2.» n . n -.r ' U, .~-. 3 . -: *~~ rl'xJ-o W." _-.<~ at 1C L‘JG. . (3.1. (12:43.39 «mi-(.5 3.31 mm“) CagnngJ‘LA; 1.1-...k'JI .1'1 with" kv'uv'éktl‘l“)

CL ‘3' ('0... Hz“. v ‘3, -v (:4. "."n'wUx «1:13-: «LIL-(L.~-.',‘ (..\.i‘i‘..\.-L~‘_‘.r xx“ 1' :3Zv I'klrnJuL'L'j Vv.~)-'~ #2493? ‘~.-"'.? u=u.-.'.‘--. --..'.~'.._‘.-'u_ -‘.(-"-" 1'" ?' (sub-.1“...fin4'11-T‘:‘l bf ~ fish..4\2-u 71 ' ' ‘u Q0, ‘C‘CIUA . “V '0‘ ~fl} ...‘..;.‘_r';.'.3 " \’ " . CC; '-. 9. 'g‘ LIC .'-’ {3.5.1: '8. ’; I I)” L34" ‘- L"'t LAC: JU.».._'_}¢ v "I ‘v “‘ .‘I13.» ' 3 Eli/‘03; " V‘I 52 "‘w: '1‘ 093.. j f Due ’1 ‘ ncmincss r v-Q>' .- ‘-. fcr b3st ro.eud - hfumfl :5 1‘.-( ‘ proured .~, It --.',ffl 1n , the P Loltcn ,y ~ hge ’) of hSQLO v :. div: so: “L35 . ’3‘ “may, r. -.-- n 1112.». “guy whochs,cm, u um uTehuie - =2 . and ‘ 3

Dggwood," ”The R 15y Fouily,‘ "Lam and Abner,” "Vic an1.Seoe,“

"Joe Penner,” "Easy A035," and “Fibb3r Hche and Holl'."

May I have the envelc :, plcoco And the winners 3re:

'Ukmrs 'n' Ahiy" end “Lem era Asher. The nominees for :est cemedy variety program in the Golﬁen Age of Radio are: "The Al Jolson Show,“ "The Phil Harris Story“ "T118 Abbott and Cos tel.Lo Shiv," “33 Hymn, Texas Fire Chief Show,"

"DHLLU'S run .. m..." Te;ern,“ . “The ’r‘H-u luau!“‘3, n- LTPDQM 7» ~ 333r~"..", CM ~.,., ;Tie ..,"‘ LeC3thy 1.- ,._ u

Chad,"F‘ .., M "Th:3 meme"T‘ 17?: Gumbo? .—. - *.,..-,. Seen," 7 ‘ 2 ‘idﬁ {Tu bob ' Lexus 1...... ‘4 anew,"("3 .

I . 'r'I"-,.. - (.2- (\ ‘. I .,, '(‘l - .\ ,‘1 ‘ £311}: is (:13. ﬁnd It ll‘;:~1"u link-5 J L 'H.‘ .‘3 ll «NI/3115'.” } r»: t: ,' 3 :‘Exl " lilfj I‘ 1660.

‘1 Allen Shot.“ II ey I h3ye the envelope, please? And the winners are: "The Eager Bergen and Charlie McCe r hy Show'

”The 30k Benny Show," and "The Fred Allc n Show."

All full length re dio cc medy scripts_1n this work are om‘i inel appli ca etions of comolcttd stuﬁy of radio comedy and humor in the G013 n Age of Radio do 110 for this thesis.

Although 9 me hits to Iicel information is included, the practical analysis of the humor in radio comedy is the core of this work. Sin;e a ph"ese by p1 mr easelysis of each comedy script eeuld detract from the 3 rt 01 r.dio comedy, this work's analyses aiseuss relevant 33H hr" 0: humor elements and tee? niques. f D

hijtar Um: will $153233 histszy, *himgcteristics,

and techniqucs .f incricen zumvr. Chinbsr THO will briefly

raviéw raiio Cemedy 1n tug Gglien.fice of Buiio. Chapters m» Lhreu ,. ~ tuyufigfl nut-v. L454; in.- ..n %liu .»' " gbubULG-.- LAJ. m. 2-1, hue S$£ ~ .-— eplginal - ~ ...- . rq¢¢ “an: o

COﬂ”u" ‘ .1 DCPlfLS, I. s! -.~. 1" chd .9! u .. wita . ‘_ 1L3 ' . acccmyag ﬂ 3 I, Q CIT—F! Lag '- agalysis _. .. - *1 o mud n)

commenfiiry. a unsutcr h:- Line will feature conclusions about the Goldtn Age of HaLiO Cfime I. "I av. I , i’. C"? AAc-J. 1“ fi ‘ 4,... I

.ﬁ“! 7‘“ 7‘ (‘ 1"" J‘L'K'AA LI; ...), 15:;D h. LIA-V ‘13.}:

'1 ’u: . .013 Ob‘ Ila Edi]: 0.5:: Xibtob

One tanner“ -. W zox v Aha? ‘ ... r. ' eeus . ..- 1 a or all m? nkixzd for thz t matter, can possibly have a sense of h1m20r after we've elmos t all gone through WU oh a ru: 9 introli otien to the world as babml 3. Really, the nerve of those doe :ns giving us a slap on the poste=ri01 to make us or". The least éocters could do, is to te 11 all newborn rnoies the one about why the chicken "“h‘S&J the real. Perhaps a healthy guffaw with a newborn baby’s first 'eath YfOIﬂ 1 gite the tsor little ch31) at least a decent out look on life. The baby may cry

(‘“‘ ) anyway or give the doctor a nasty .Jln'nv :r for insulting him with such a ChC esp joke right off the bat. Heybe the little fellow knows a better one. Surel y, the father could use one.

The old men will certainly need 5 ometb ing, if his kid's first words are why the chic} con 0 rossed tlm I‘D cad.

. 1-!e}\tf‘~‘r'\w'fl gr\"py1+‘~ NA?! Cr}? jfirFJD-‘u’v: DJ s. {fl v»!- ~1;:\n-y~vr _x may not J-kfi- a‘fl“: ”Gov .:——-.:. 'a-u-a-c-L: know why the chicken crossed the road, but it can provide a start in that direction with a bi t of on terminology in this an inlys i.s of ooze ay. Humor 1 3 "some thing that is or is designed to be comical or arm sing. "3 ”'Humon' derives from

5:523:13:r .3...“ T ..fisi'rri‘ 1.1; 2.3.11.1: 11*.“ Ta: :5. 31:21: 1963 , Ci

,_.;_. .-'|_ ‘1 _ "_ ‘ ﬂ ‘- 1.‘-.."-, . ‘.. 1“,. . . {11m} .‘. ~,v__.-:..l':3;1..L-1~~!;-.1., ._"~| ¢:~.;.u~.'.f?-.)a. (H. 131.” '-‘ 9 Eu; CLLD: 9-;1 331.;3‘.._'.‘._’,C—..:.T-C:-’d 01. or I. ~~ «a -.-<'qu ....-

2“ ._ II '2 .. . ' 13“ ‘ .. q '1 (n ‘1 ,' , 1!. r‘ .‘x. ’1: ,u. ‘ . J,‘ ‘._. .2. .... t -. ii ‘1'. {3|}. I ‘ | 1“,! .3... ,‘ _‘. I l‘“ beﬁll; 3 J“ --L'k'~-£’ OAK/1.141630 c~..;-C;1t1 ..'~- ()4. UJ’ a 4. x1}. 1) 149’ 1.1.0 .533: .3119 implies ., . . .L‘... tag LA”CDS .-. . _ Mleﬂ ' 41‘ a 84333 ...- of gene;1 ., . a isz. an ee'cr , tFlC, ' alzeou;1 . q. ‘ ‘ "‘, Lune .V4‘”- \ J. possibility u ‘ J \ . newt .y - .1. . 231Ll1nly r- . 3:- 7‘. .f . exiais. ,‘ .- :< - ' Any .1 humoreab I l a . vI ~-, eeueuurles . r a‘ q }- ~. : A. I can r - , ‘--‘ plans - ‘4", P- . tne -I.,-. LCiltEdl 'V , ' t. ’_ [73“ Campuny ' . ”....- IV‘ for this . . notion. Kit is defined as ”the abilit" to relate SGBL ingly dLEpal rate hifgs 80 as to illumine“e or amu”e. “5 "And the

iriter Artlur Leestler reminas us that 'wit' is traceable to the Old Englieh giijg or ‘u‘311staueiuw ““6 Com; ﬂy is

"a theatrical, film, reﬂio, or televieien C'wna of ligklt and

. ’ -n , ‘ 5-. r. - r- ,” J—g, Q J. . r‘.“\'.’\"' ““K ... -: M .‘

f )lne caeveeter ane “talc llw' ith a heyyj ehiiﬂéu or a m U. L.) ' “ "a 1L die1‘ 018 or farcical event or series of events.“7 To laugh is ”to show mirth, 303, or SC em with a smile and chuckle 012.1,losive sound“ 03:" “to find. 2;.1s'er',1011t or plea-e ure

0 hese Gefinitions may be helpful in subse- ougnt éis cussinn.

Jesse Bier, Professor of Amerm en Literature at the University of Hentana, briefly disovsses some interesting ps3chol.ogice '1 theories of laughter. Frezz ch phiIOSOpher

! . \ Aaessc Bier. VA!”H“ P*“1 1“” Fi“ 3‘”. ciliwérigsﬁeﬂymex (New YorL: Holt, Kine“; t a.n1~ 1etua), p. 11.

5Htht0?'S, p. 1025'

éBier, gmmgg, p. 11. .—-—.-.

7‘0“” m1"-‘ ”wt“: .—- -..-I P0 165 81b311., p. M77. If. nme «» («n+- £5» ,., {um-~45" ll. ‘ I .. n' o :— | V) t ., N ’ .) g \.J l B C k I, L k“ l ’ ...3' ~‘ t’- a; 1- \ Q .

C‘ 1‘ ,. - ' .. {-2 (.‘- ...-p , n( \ ;;. , ...! . I ‘p‘. _. A; .1 ...-x .- g- m». -A v.11 h_ _ .1. I: 4 .1 «1 .r,.- - ' .1 . C) if , 1 _/\ In“ 0 auxin“. ... x o- *JL‘. v'vd- s .' I; ‘ LR.“ -.’.-.I d $1.21.»;n—‘a-xi.i.t...5-.¢2 L"..-L,L--.-’. C..'..MJ.0.) I {1 (J. 4 .3. any}. 2.4.4.3{421-

as ‘ 1":9 - 71.1.31) 1 u: "u 12:12... I-“ A‘ ,5:: It 4-,. 1.») «21111141014- .“ 1‘. _If ‘4:- ti)”. 01.7%.? '.‘.. v . P 1_.},..u‘-O'PJ.GS u . la. 5 l - CI 'n“ 002 -'.".3..1;=2" a ,f' cf, {5.1.6. I .-, -, laughi:r \ “1‘ i? "be H a tili1-r‘ccvI? N ’ f'ea l _ 1 eicneiiuy o Q 5 9 J ‘9 iiLtlf: . v - e

01 '6 grcnihb f .1 9 ' ‘O .‘dujud H. v‘ -“ 'q re‘siec .0! ‘r 11s Gd 5- life, . or ' a _ necessary (a vest -~ ‘ _\ o . re of our y, . prw: ,. .. .3“: :2: y n LHT3. '- - , otill(“ ..." 0th: , 1". theeiies ‘ b: «v. disc ' ass ‘

13 ~~n‘\+rva rc- «mlhuymm av-ftzm’ Mle'wrr 1 oft). L:¢L .J «.3. (ask) I \1’~_;‘.-‘&J~L-|\l , 6 1 ( )lCIL, 9.2. 1.13, SM catculng IL‘ ‘. p ' mg o belatedly '. I - O Wiuﬂ l‘ J.‘- use c .0. 'ﬁ tenlih ’3 .9

Lou~“tei can be a result 01 hi]: er; for ~2emple, when that humor is east of comedy. Presideit Wilson offered J-

K v ”M, .a _ .H Q .. a U} ('3

O he t‘ ,5

hey Irwin, one 21 the tc; caught: I H. (+ U C) C) (1‘ (D H .

tiolio ﬂ of Secretary of Laughter." May's theory of humor p0 :3 was ‘hus: y, Emma: is Spgntoh 0U 8 . It is been with one or it, AJ not. It 0: nn'b be at n ui r( id and it C3 MOB 03 iorcm

One meya ‘ppcaise this tidbit in recellirg the famous Benny-

Alleni 1’atzd, Edna? Pergen's always fired wit, the comic genius of s. C. Fields, or Bob Hope's fleshy volleys of gags. Their humor may safely be “ll ds mt zec13 The successful spontaneous humor of gree ts nezlcew seedians did not, how—

ever, grow Spontaneously ove ’3 Their cwra Cher: cteristic *5 :34 H- (‘3‘ 0

U 6’3 brand of humor grew like the wetar of a mighty river going to

9Bizr,}{ w'o", 3,. 15-16.

1OH '3 11“ C‘- 3'1} 01-11, ”1:“ ileEIY‘..-i:” Ifl'ftf: 11 _“"_ft’ m“. f“f1 H3.13.1“

‘ I ~ ‘ ‘ ‘3 " - ..1 . ~~~~~~~ - Z q ‘ .-‘.\"\ ‘ .‘ 2* "..Vv-t --- .1 ft," V‘ 21-. 1 :- (...._ ~ 'Y '9 Jv- ;‘.; r l v” n 3 ~.'\ 3' ' '1 2"; 'a“: In.“ t’ln“03 SLV‘&. Eyl‘ .‘~"'-lIl-;;; ‘ "x'I-J- C“-;.-3, d 1"2-l-‘-"‘~'4‘|'J Lu‘. f- $-— _._."”"2 J—a-L C‘;l~L-‘.‘—LU.C:‘I-|\oﬂ'»9

V'T. ‘3'". .“w’ "1."? try-1;.- 1 5-...” «2 t A. rwrrr ~3-s -~ 2', (n w. 1‘. 1-2. \ '1 1H; q H bka 'JKAC‘L Jul Q ILJ'V.‘.‘.IJLUV.'.'.1 L: I C‘ X‘ (.42.. J Lug; 44- . J ‘m \ -,~ ;‘ ,111‘1». - «a- y ”11 foo ~ ... . by td* y. Luti-Lts (tritx:.LW |' ': . - 0" ), crossir; - ‘..- _c-.* .. - y. rs; '\ - - J as,- ,‘ on; '3 -. great -t-| -

Spills . ‘ (losing . ‘ a . sponsor -. . f 1 or iosingw . e netnorh), Mi ilcoiing- ,r :_. or .. going ' ‘ '. - any j.‘ tits ‘ 1'1 3“” tne sensors ' I‘ ~ (Uonlly 1‘. .'- 1- CL 1,40 a“: ouiPtJ-hjﬂn -‘ :w \ r I \r seeks) .Y ( . and Hi olly mzajs: :ticslly flowing as a great river in all its grandeur (consistently i311 hcouerrti gs) down to its final destination, the sea (a fond memory of many M orice us and a berth in the annals of history). The nrest radio comedians \J

nurtured their inherent Sionmanship id :0 hL;mor in various ways

{1) s tlm y grow in sopul Lirity: H. C. side and Fred Allen es

jugglers in veuﬁeyille, Basic Cantor as a singing waiter,

Ja mg B=n'.iy r"‘in‘ his Viol “€-

5 n in'Uorli War I (one of the best continental Cofens~s over so Vic ed), Edgar Errata as a higli school ventr ilo u st, will Rogers as a vaudeviilion com: soy, H.

Freeman 608 do nd Charles Correll ezoto tsining en Elks meeting, or Bob Hope as a boxer. "The general impulse of our humor is to enjoy life's

onquest over all particula systems of values.”1 Humor can cross almost any human barrier that men erects to protect himself. Humor innocently slithers behind the humen fortress of emotions with high in regneble wells of hate, anger, prejudice, injustice, poverty, and tension; moreover, instead of lighting the fuse of a dangerous, highly explosive negative attitude of the mind protected by these human barriers,

11Bier, Eugen, p. 1. ‘lllfl'

t’JIII “Lalo? “- r. ,» 11.1. .7 ‘k L-zi -" i). ’ " . 11.3710° ' ‘ UL q 4-:— 15.13 r 1:3-..11. n-. -,. A‘ l‘f.3.;,31.?Z:’ES.. ' .1 f N ' {3. l .LI“ £1113. ‘ + uff ‘W‘Jul-.3511 .‘II‘ . ssLL.g p a Q q Vﬁlue 9 ”,1 .- to a MyEE 1 s . I glossenu ‘ . ..-_ J. iL¢,slrr9 ‘._ .- 4.". .. p ; ‘ steam 5'. r a iron .‘ the ..

0 r' "*1! T“" “w“- 4‘ -’ "We". I " , r1 4 - {don n21 ( ; Did; u L"; "”"“L-“:‘ LIJ. V (I ~_\-. -..‘1 ...11 1.1.01, 1‘.L.- LL 0

‘Our ix . hug)? ...-.- . ”ﬁlthibuS .21...... all .. vs r.°.v"~.’t"‘r iLJ s snzl c;Ly , . secu- . . r L. Ll‘S, consistcnciy ,'~ J‘- r1 n... ,2_, 1 .. thdlixCQn: . , ”t _-’ . ‘2‘ ‘l L8 4‘. 4-, anse I . hL

A37‘4") .mlicL. 5: 3-") "12 Y.LLA ‘1""f\ ’l CC'rlJ . ﬂtq ”1 y I 13 fJ crvl<,LL '9'; l J ﬁryllp $111L1L , h. 31.1% oL 9

’ chose Verltlos 9‘ .. 0., .u u, Lnd v- cosy securities . . '- ' ‘ . in America. \r ConSidcr ‘ i M the

liigﬁ lofty, arrogant, Americ an: In li.tical pLs ts percho {:24 pm; and

mighty in their gla 7": ss-lott cm to «moron5rd in their almighty and virtuous fishponds of marsh gas. As they pla‘u idlyd ft stout with ths tide of publicc p111 licn, a comedian mosquito fleet mercilessly noraués the flailing demagogues wit 11 rezor- h rs, leths barbed Spcsrs sipped in a Lotent potion of ponct“rtirs humcr Senator Clsuncrn would un1oubt— edly he in the flag.LiL, which natunelly would fly the Stairs and Bars. Consider the corps Me twcoons, network executives, the military, salesmen, tramps, dissi5e nts, eccentrics, mothers~in- law, or wives. No hurnan verity or ins‘ titution can long escsbe the wrs .th of a comedien's humor. This humor puts a mirror to America 11d wryly M ks, "well, what do you see?"

The ensuing chortles register the conedian's accomplished miss ion. Humor, then, is not only a check and balance on

Mt titui ions of human vanity, but also the intrinsic psycho- logical check and balance of the human mind. Humor has been, is, and should be regarded as a healthy, healing Spirit in mankind.

121., ”iii-:52. ’ p. 2 . Int}!

C 3! -., . .. a- '\ 1 ‘. o‘ -‘ ~‘ ‘ 0‘ ... . u . ‘r‘r' v 1'.. . . 1 av - (- 0" ., ' j r . . ‘1, 4 "v - .~\' ~ ' I“, 1:: #f 1x3"'-" I, 'w: l\ L; ”.3 . P‘ \ L) .... L\; .4 45.“ L) J. L.‘ L ...! (”ins--11, .-I .. LJ J}. i1 _-. .‘ us. ..L‘- L-" ‘7 .5 ‘.~~l~_,.'. t. aim-v ,

8 0.1311.- ~ . ~ 51.. v 4"‘9 '. I 4.11.31.11.01“;'1 y", .L' ’ . C11. 3 1“r “171491 ' . . .4. - 5 J.' -.11 a (..’..u -_._ ‘- -.-. 21.3] 2‘- L '1'. \ . 1’ . .L 1,..L. . ' L- » ' 1.‘ f_.3 £.-."LI! 1.51111“, - I '3- .‘. a." ‘ ‘1A.. A .‘4 ‘ﬂ L, ,3 .

a L - .. .- I . L ... ‘ . . u. 1 o .-v. 1.. L'Lrnuvll a r. '1 Ln.‘ s“! (1.11 v. 1 Aw LJ . .123. ~ 1 1.3.115.) . «\v‘.‘ 1JDCU. N . .IJ' hr \ — d " 6:531:63 n 1-2.1.1.?1* < - . Line‘s}r. .... lv. no.0. - ~n ..., ,‘1J.},\-~LL ...—.1 .. . hulk: .q. ..h‘ . .0 Ga. ..Ll ..‘It- at,-- . CL.>...1.C . «.1; - l.;-..P~.,.Mt..l L. -."" ..1. fi‘fl-‘V - J 01 " litclsl . . *,l‘ v, LL:gov. ‘1‘» bub ,n‘ nan-.‘o Dun, J-.! an .o ‘V-‘- est - o . Igrm ... 4' , oi :vfl‘ he a . .. or, gi.vs a n for a

‘.ore scuLs .' 'x »' T. cgfch." j“ w- ... sbl raw-\r the '-'x\ rvsuit "\ ‘ ‘Y of » a {‘1sinle < h \ .ssociation _ ._ or ‘ sinu1t11Vltm. IA \ a h, '0' for fl Cflump « xx , .. e GPULLnO _-. .- .‘ - . LL1A If \ 'fi“ says, . , "i'Ve W' P been . .. as {...} Q sick as a spy. 1' ve 113d a c019 in Ly nose," or he refers to

(\ bonus J— C Jan‘s . :‘ helkcxs .... -- es “buocrdiLaLe 'C ‘ a» , .«A ‘1- t ﬂ. aUSGb. r‘ A second, C‘ reverscl~C’"o.i -tion, whish makes something simple,c ewnlc

SD clown mJ\l%@ a pis“o to its piano bench. Or, reversal who:

9 ‘2 ,. r._ - -. ._. f 1. tee Lsrx L1WOi} :rs in ”ins . L5.g u buczcC. 4—!“ ‘7 I! annouuce, A ' I ' “a A ' '1' e'll , peggjg some out!" esfb‘1‘icslin3 ‘ o in. Am ,Liu,clv r\ s frcn V 6 all)». meters; :‘la 1" th \ u then hear a s1=1ct from outside and quickly respond, “We're coming!' .. . Q r'v lfllflu, ~.‘ :1 1;. no «ngocs: , , - .. , Libbey 1. .1\,. MCUJGv" .",-- ‘ Oybfllflg 3‘ the he ll 0

closet, or ViSL Lully seei M an overflowing '4 Lashing machine (as long as it isn't 3Wour a). Fourth, xeggeration or sheer nonsense: a combination of fruswtr tion and complication.

For example, “He suffered fr02'n a tOOtlk“ she in his big toe after he bumped his olbo .4 ageilist tb e h.c tskillet.” Fifth, antic, abs m°d comic free dom: a lack of regard to natural consequences or rational judgeant. For example, the impos~ sible antics in children's cartoons of falli n3 off a cliff and walking away or we king on air (radio's ”Su138r man").

Sixth, momentum: keeping the jokes or humor cons ently

moving forrsvt at a pace to hsld one' ,.

U1 ~.‘=..di~.311.co. ’1) bee-11th, the statencut of truth: siwply holding a mirror to one's Ill.“- ’I‘jllll

The anther adls two more ingred1ents; verbei Gentle, such as in the f3me1s Jsc:k “canynfred fillsn feud, and chsrseaer huxer, as in ”fines cn' Aniy” eni “sum and noner, that cemes from audience understanding 0: a character's inherent huaor end v~v en1lity 1r of hes a characte? may act in a certain sitzation. For example, people l"ifi}:d at

Andy “eying, ”Buzz he, Miss Blue," bc°uuse they recsgnized

Andy as the ersreet r who h1c d en int1rcem 1 1e to his secretary that only worked frorn }1is secretary to undy.

" 9 q

Bier cites a list of leading medes e11 - devices of humor in Americsn comedy: nonsense, cenfusionism, reversal, entiCi‘ i1: ex, entiproverhialism, and 1 undercutting. Bier re— marks tliat t1se indirete the P130 minsntlv negative, pene-

. ﬂ *3-‘ . . ‘ _~ . 4’}i. 1

tretike teneencies throng mxut its hi t1 rm Lonsense, I {'3 ...-lo (‘3:- proverbialism, and ccnfusionism are selfucxpl eatery as (T) 5:' Q in Americc' 1n comed‘. Reversal is one of the ingredients of humor already described. Anticlimax is periodic cox ic disqualification Operating in final words. Undercut ting, less frequent in our comedy, is simply initial disqualification.

A result of combined anticlimax and undercutting is thus:

"If I had some eggs, we d eat ham and eggs, if I had some ham."15

Considering tm1se ingredients, techni ues, and

ll’l’ll‘ltllll A I . I IS- .

: u r 9" ‘ -' WM 1 '.",\ L ‘ t R ‘ ‘ ‘ I‘m," " w "2-? --:v..- ‘--1‘;~~‘n 11 (~11 L155 3 C~ S 03. Ilex‘ o". , L143? .33) 1 )1. 3 .31..) VA fr”. X". .:..k;-13.~1 14.33. LJJ. (1:23.,

L1 f‘ 3"" -. .. 7 I" ”'3 .‘,. 0 4‘ xv r' *'-'~v'-~ - ("t ~'. '1‘ """ l :4 S"~.”‘ .‘nw 4": V's". "" ’ ~ " 1 L31 ; t]- (..‘1 {.‘l. -. L‘ <).’.L.L ('le 1.." ~-.}4'.'.1. L V... "4’."h‘!— 1.1.213“) .3 (J53). L. 1111- L}u~--’-‘L:LL) (.- A 3: L1; :41?) 3.3.1. ch- UlJ a ‘vL v I J

the I r Union o. n on: {43315-02 - n 1311613131 ’I t In .r 8216. J..-v L332; I CL.;:-1;{;}::;§,c ~ in o - -\ Gem.“ ..‘m liggtlgg '3 . C. 13333ietely ‘ N ' 3 ~ L333e3333r), 3 .- , 9*- and Lne 3 aeeage -~ . .3» o; 4» .333, L3e 1330’s '33 3

,133 -" "'ﬂ of SQGlOpOllthal . . 3 A. .' .‘1 n.t10dol F- a ‘ *3 onezacLer .‘ n: Jr- uneer ‘ 3' 3 goosevelt).1

k" “a

$21 O {1: “hat is opsrative in those p:“iCGG is a V.

.. . . 3. , _ \., , ., v ‘ . .9

,3 '23

:3 security or assu;;3ceL31L in Lise pursuit 0L 3 $3.3 ('1'

115

H.) ('3 £13

50333, an unieniably inuu"”33L cr regurﬁert '0

3-4 Pin-O hi) cs:

9 V“ c: «' p . ‘l r: ‘1. 1‘ , I ('\ U} m If]

:3 “.3 P. ,1- a 0 POWé? 0 cnccmlmz vacL3;y. LuﬁPS (1

-' "j

fen p3 s ,lliL;.s. o; Lona 31. 1f Ho amply the U e (f.- .

013,; 1min” +0 133" 371413.31 ”LC-our £13311“: 3.3;, pews O 33.31

psveaolskv seems L3 cenyirn G“: nigxr b730u1at1033o " Ther3e airs seas b30310 elmuac w35313L 33y Sente 0‘ humor at s'3v tins; they are alwavs hirnly buzgec*ive, unsure pe 3:13 in Lheir Gail? 31“3. 11-3re‘133333 like iesliLt (“ably vzrv sen, rle..¢ urle.¢.mav~h free 33 at '3 ii“ OtvteﬁvnrodiLie"“) rwtlznhlsLioluqus 13113131 Cane (“'3 ‘ e Inore secure a 33 ital ~ L3e no 3 ILL-n“) 3333 c3lled atLenLien to one 1 (11 "- '77 "‘ .42.!”‘ t i 05.1 23112; L‘. 5;; :7-1‘ ”I”? {20 3": (’33; E‘ (,1fo , O 13‘ (f; L, ., "u" i 1" ":1” 5:13}, continence are t . J3? psychic conditions for a sense of humor, on any leael.i7

Our p1% es nt perio d in American hi‘t ery, then, is not fertile ground for humor. The racial tension, war worries, using convroversy, and economic crisis hardly foster an essm ed or highly objective mooa. "Comedy seizes its grand opport~3it3 bu t does not create it, although there may be the berest reciprocal releLion.“18 Granted, we do have humor, but this current period of time will not equal or perhaps even come close to one of the three great periods of American humor

RADIO CORIDC

of a comedisn's ability to provoke their ceeFinnations. Saws comedian Harclld Lloyﬂ:

Lut » - no o- CGLQCLQH -. - Lsn. e I." ~r A» 333i — 0313333 “4“ . - moat ‘ ‘ a w3kes - . 31

. 's ‘ I v A. .‘- n '1‘ 3'3 “,r ~_> 3r l-u - » .0 ‘9 l q.‘ ‘.‘

‘- 1}.‘3—Ja c;J'- (:3 J.- ‘.1\.«Z:;41 . '3; Li” ; 311‘ 131L3n’9;. Di?)- (3 {3’- 2-1.313-"3/ 'r’ 3": IL (3:1 Ci [.1"31’-I‘1;:‘(fi£1t by Conelifii.o - ‘ -« r n‘. r“! 333433_o' W C-._ p ¥ ast>h.'hi (- . d by ' 3333133 ‘9". ".fi.» '. ‘ 4““; UH~ fl mouth 1 and writxlir” the face. '5). o - on. ‘.‘ -) ..b‘ o -

No nacttr vh3-t 333 '10? 3 comic uses, he must censider the U) audience. Sucees m‘ul comedienne be nny Brice knew th H. .0

X If "”3115” (.1. Q C'v'lac ... 3’07} liﬁﬂfia its L <3 ri3* 3 Au I3. 1*;31rn a (10 audience has to like you. You knee .../Lt J U0

j r:

. (.24- 1

about you, because if you -0 (3- “ {.‘J

' .sw "ou must 0

there is anntAJhe offers ye 3 r3”

(L) 15h you are m'hing ior. “ r‘ set up your uui3n3° ior the l-’

Strangely enough, comedian will Rogers got his big break in a straight sta ge cowboy act in vaudeville bwﬂ not 1.'or1vi gfor a laugh. During a lull in one of his acts, while he was twirling a rope on stage, he carelessly remarked, "Swingin' a rcpe's all right-~if your 180k ain't in it.“ This innoc- uous remark brought roars of laughter from his audience. But Hill was embarrassed and vowed never to speak again

O 1/Cfll'l’l’l, ”1;;ﬁiiﬁrf:h I'H‘-?r\3 ’ p. Q. 20 Ty"- a, p. 670 n. < l‘ * h‘ I - A «. l‘ w‘ ‘w ‘ .‘v- ‘.w 0', .H 1 ' I * R ‘ 'vO - ~‘ ' ‘ 0". ‘1 U.J.'.‘L .n (— ALA. s I {v} ‘ } ...: (3 (3'3- !J 0 i1 " ‘(1 .1": 3 ’- i) ‘1‘ V‘ 3;; 9 f...‘ I ( ‘y x- a. "r '3‘; 5.1;}. it)" a. E.

h112.& I ~~ " ' ~11n15 . c hlgu, 3‘»: q :3 311 ~ . h13 ‘ ropl1g 1' A ' an“ I“ , ch1ng 1‘ I ‘1 ‘-. t TGsS *- hillﬂd - " msL3 ~ .“ w" him 1 popxjvw . ﬂsxcd1an ,. -..:: . on 3. r ,1 J10. .1 syege - .. sn1 . ..1 £11m.' : " l. 1 -ooulun ,1 ..

Al J01ssu, " 3 - V40 n n bluhuly x v. '1.‘ ‘ Drrciur“ui ‘._ ~- - u- s t5 , A1uss11‘ ‘t ‘ A. q .0 as a CGmQleﬁ, e. .-’ .3 . - recagn1z1i a. -\ .- hsn .4'5‘ 0 ULffiCdlu a . ' Q. ~‘ 4. 11 . k IS . ts .6“ .2 -' a1 ". 81 .ﬂf‘ uCtiV$ A~ --.ll COmCC .-. -.. 7" .- a1.

AS ’ (-1 '- v 131113.313: u h . - 13.13 v v 333 . 1:110 . ‘.‘ 33 '1.93251 to 1-13.31: v-u..-, , - , ,. J“. 1.1133 111‘“ of a as? .. 1 11am ' . is .- V.‘y -1 h'ra. . .r hOUb'- " - a: “a 4-1 L.s' ~- 1'1" 3-.Lmve ~ . Lqen - - 101d, 1. 81%) ‘2 Lung-u1'.1..c ‘ wt '\ ",4 £11 a. 111':1 ‘ " ' 1e?" I 11.63 ,- 7‘, n ' 1% 5 .J-. 1111121wfi; r- . I, r {1u11s1cn33, o"- A a. A p -g I 311‘: h» .‘Jgd'g,’ r r 3 i I ..L—. ".- U? “ (3., » [3,11 V. . uro‘ 11‘-£! 'x'Ji w Jr”. Lx-l .733 ,-_ . o 531:3- 1‘ ,n w 3.51.! -.n J. 9 J" W319- ."f ’ 39-313 ‘ ,-.-. Pnfi~gfl n- .0. 1T3ycu.mn.raxmyp E. s." I ... (... ‘1'. am . . . ' _3 I LS .I.- ...a‘. 1am, -' n:— .‘ “tn. 1.3“fi1g . ‘ aha .,.. ..‘up‘ mLJlI I r1h1yu w w h1n ' r'.~'-vv.‘ Luau - .2. ~.no . 111*“. "1 -‘ I J- huuscar, - , ..1 f edrfly g‘ o ' 1n . my a, matouxic y . o

_ ~r_».1!c l :3. ("I mgunfs ~r1“\ i ."';-I (o‘ .1. ‘ 11r1 9 “:"\ '3 ‘f‘ch -b b3 twna fir rt C(- L \.' k‘r , G-Ja ‘JCU \ \Iu. \JC. 31.94 b (’rfil («v \JLl ('3‘ K! 1‘ L"; "I .5 Lt$nv O ltluy1. 315-11 A 3 UCLA. 1,3102) . -1 to laug} Xou can t 051x than, caufit tell thsa Lh1t you‘re lun:J L11 ss ysu m:is bu :m lechm it. Th1? just hate to lau~1 nuxz you rent team to. 9?; when d u want tnnm to CENT, ix} Sf’ l’C‘: fl}. [it 113 11219“ 53113111“'* C11 cr.'t; saw Cu~h1x211 and FZUVGW as an aufiicnaé. Heat of the.m eUe unis. ht, FEL albi°zfifi WT t:s1 hes not b3::1 to LC1L‘S‘;.L 'i’..‘;3,‘ail,g ’ 139,135: :33: 1131:1133 1‘. Til-"4‘ I 312101.131 like to 11ks than remlizv hen hnnmy .-. blzey 1'414 Le,hgf . they Inauld 01.133 just try to gugh, jam? ev3n once.”“

ﬁleir trole cs ana to laugh.

O azneuy '1 a.ud1cnce, perhaps, did not eppr eciate the wci snsive and sometimes “ortuitous

early history of the medium of ra die. In 18ﬂh, 381171181 F. B.

Horse used his handy telegraph to ask his co-wor er Alfred

Vail, "”ha t1 math God xxovﬁq ?" ’Ebis, of COUrse, was jLst one landmark in communications history. cars of communications advancn. meni S late «312.2 , amateur re LulO ' Ops rators and

2113354, p. 12 o ‘ V" l ”l: ‘1' ”At-9%“ ‘3 n“ ~ 7 V‘" 6 T (1 (*W. " 1’: x ‘ "' ﬂ 1“" '3 '3" “-' "1' J (1‘ "5 .r‘V ' 7-“? 2 f' j T‘ I. ’0 \Y "‘ t J. " 'Y (.1‘ u;’-.|"~I;T 1'6 ,.J '.¢":»’.' M3 $J.\.; n.3- ’ J-Jx. C’L l-v(.ﬁ L‘.-§-‘cL-n J .11. .T '~'.>-L '-“- 'k’ ‘-' " ..'. c.’..‘. -a.v\l A‘.l ‘- .T ‘1 14:1

‘37? z 12.. '1 f‘ (1"‘W‘W id. '1 h ’3 (T: J' (.3 4.“- : -".". '.' 7-71.?» ‘7." . : ‘1r-‘~ f‘ m ’3 I‘ ’1 f“! 1‘ 1'? "vj~ k3 LLO W Cl'v LVLT-J ‘ ’L --.f:. “h’ >U T‘."\1;L;J.C".l‘-? t‘u‘l U gnu-Ta (..a ~1aL-'«J‘-- EL (ﬁlth .1" {KIN-(1 broadcastirg c~pcrations, red: 0 econ basins a :opdlor enter-

Hl Even the rihCzs of Ucrld Var I did not dsfeat the broadcasting growth. Radio and 1o“-ny clntinuhd

'h the twenties with the public becoming increasu in.ly fond 01‘ names like the "Hapginess Goya," the “Cliquot Club Pk Mi os ,“ "A & P Gypsies," H. V. Kaltenborn, Gra1azn

Fondue», and "A303 'n' Andy." But the D1“; ssion 13,1. ed radio.

3 A '. - 1”,“ *r’. ro- . Vi fie di~ ktzc x 113.n In1?tl W1N.3 C11 u 1‘ ‘1u 131 p- l- g: ‘ C 1 11' f .L- .'1_J 7if?) - '3. ‘.T , .1 (1C1 C-I" 61. :v ,’3’.1.:.T 'V;’.i- ,Q._:.". 11?, A: o ”1,3133 '1 1- ~ Ol'C1ET..(,3...:-._:.S 1 m,- ‘ ' T‘ .«o ‘. . {13(3“ ""‘c_} i1mh1s1A1.- - 0‘... r 1111., '-¢ all r,’.' 1110 .,13311 ,r fr-‘lo11 1111'1 J' 111121111 . , E , LEM '. L.‘ s1J3n1: -) .4

' . , m I" 3‘ V‘. o'\ f.- '. 1"" an L. .4 .z; ~I . . f- ‘3 .IV all-o- CV£112 J .L C .1 r...) I. T“: {9' U .34 .:4 ‘5; '\..II . 111 1‘1}le in k... ‘ ‘(J p:‘# 31* ‘g’. lulu :1. .V; -L 51:), a tolllno EW‘Q‘VKV "i1o113.“J '1’" 3-:

Indeed, it did, because as Bier noted t;m at the thirties were one of the three grogtost periods in L3em tan humor, radio cos1edy pla3cd an ineortart port in bringing joy to the public in a time of adversity and despair.

T “The dominance of comedy and variety on the air at the lowest ebb of Depression seemed to some observers ex— actly what was needed.“24 Radio in the thirties provided a vital link of communication to the public for news, as well as a voice of faith, hope, and joy. Some peo3le listened only to speo1.al programs: side -nt Roosevelt‘s fireside chats or Ted husing 'I broadcasting a he wywei; ”it championship.

23.1:1111' 1;)”.II‘V1CJ3A‘1’HM FV Inn“ "1“} P: jar-1'11" : 2": Eli: Qj‘fif::f (‘11:- C ,3 1g 4-1 v.33, ,, . .. 31,, EQYXllfligl-*XllL'33JLTWE.LCN,L3;g.ng‘1 fl . ~. _. _-.1 “a-..” 1 l”"l*' V L’Z \hEfiJTYCPKK \ ~ , ..‘,; ‘1 ‘ (3 '3‘ 'V ‘ 1“ " .v :LL 3)5. ‘--L Ule. 4 uli 1.1.1. VJ .L‘ .1... a4?) ’ ijLJQ} , iii. giJ'Y‘

2T_LL§;1., )' ’..' po ‘51)}-Fro O‘hérs tunei in eseeeisily fer silly or weekly 1i.e-itw£:

“Amos 'n‘ they,“ or “Tern Hell Tani ht.“ Still others rvr~lv

.rched the dial for exciting new or differznt pregrsms from (Mi tent cl “ear (u.int1 stations. Tr .e P‘ﬁice of listener intszest veiizd. Some misses not a word of a favorite pregrsm, while others simély L”IQ d on the TQQLQ. regardless of the program, for bee”~rouhl noise for wo~k or play.

Picture a weekder late summe: evening on a Nidwestern farm. The family firnis Eves supeer after a hard day's work indoors or outeoors in the hey field in the sweltering summer heat. The girls cle ear.the table as do the dishes. The b,ys, if lucky and not too tire d, may play a little game of base- ball on side in the fe ding sunlight. Pea, hoxever, retires to the living room with the evening paper, and sits in his favorites easy chair by the w rd g next to the Crosley rseio or the BOA Radiole. As a cool breeze from a distant th u.der- storm begins to rustle the leaves of the large maples outside, he tunes in WLH Radio, Cincinnati, perhaps to "Lum and Abner."

Those not owning a radio may get on the party line to hear "Lum and Abner" vie telezﬂione from someone's home where a radio is tuned to "Lum and Abner." The static fades in as the large tubes become warm. The "Nation's Station" comes in loud and clear. Or, in small or large towns during a casual summer early evening stroll down any; eeighoeri cod street, one may hear the entire "Amos 'n' Andy" program from the sidewalk.

,,,,..3’ "t x Is . )I‘: * \w‘ .1. / ‘u’t .‘ ‘ é -. 32., u,’ . ,9, ._ 2 1.3-sz136 $4. ' f .— 1 i’ '41-; ”7"!- 13"...)qu ‘ ‘

. free “nezon’f319“ ‘ from‘ , an ani P ner's qu.."‘ i r‘ ' "'I" v- r;(}' UL!» -{v u .. I x: .. , - ( :J Q ’ ‘ \ ?“3 3909000 r’ﬂzebt . O .- LX333 _- r; 4.L f; r; L: .“ .. k» {"1 f2.50 ' 53- ‘n 7713 1 \"1.1 .‘: 'u E: Q Le?) ,.._ I ~. r_'1 3,, "A 3.1.1" ' .- L - 3.:an' -331. . ‘U1 43‘;- ‘1 J“ 3.3 1'! [3111. J. 031'! y'! 1“... L 11” N i)pL-135L.e-r \_ rﬁ A Of - 45-": 3.45, ‘. z....-'. 3‘“ " -, .3153 1‘ - u'\ ‘1 3.. 13.7‘ 1"7.‘1 ~.-. 5.113).. ‘ ‘, .- vv . [1" i *3 ‘LJ 3-7.5.31 ~'~.- J \ 4.3153D-I ~ VI...C‘ v: i. 10““: 'u’l' S portnawt 1' 'L- 33.333 H , ' " f“ 0" 33«3r r 7 .-- "~. 33333 - i; ... 33*3 ,1. a malle::i .1. . in. L- 13331333, ~~,- 9-1- Trr‘!

810:.ij {v dét‘z .. f“; -’ u '_‘2“:"; .L . i, (. L' 3‘91“? , n. 3 1:}in /. 1‘u. ‘1‘:\.3:.._3 , D» "try/:11. _ a “A“p" 4- 'bj.nLl: '* mill-1Cyl S.

\)*1()-('},. .4...“ , ‘ -\ .... ,‘. !.. ?'-'t."‘n1;.,‘"_‘. 11 ‘t ‘i? 5').- ’T 3 ff 3. 3 y ',T{‘ I... 1‘. U .x..'.;. ”,3” J. Lin.) o_‘.'. \._3,,‘..-.- (1 J 1.: .. [l L) U...‘ i!&' 3 111/ )t 1 Jim». .Ls)

w of enrzaut t / 3 ﬁg. ‘\"\ L3iln-3 MN} t SJLA'MHLOUB '5 3.:3rc d iwou'se OI a his 3331-3r3.42 '

The fa"ﬂi v r3110 in the thirties sometimes was the most

nor33nt m.i 33 of furniture in the living room or even in

the house.

The Ax3r 333 public was 3p3ndin$ $505, 000, 000 in a single ycux to “33 =3; e s ’33, mclo 1:123:13, to ‘ keep chem in I -r3333; n l‘ f u; at 333 ,- Q to 1 = - 33_ c . 1 f ”it;1 ‘ 33133.3331 I“ L- V. ‘ . current. r1 ihib “ 33. an -. _. 3‘33 v u Hlih . .ﬂ «- 333,,LCO,333 ' 9., ‘ "K '. a 4’ "“1 "1 sxéot 1 _ ior n‘g3uineg ' ano w $523,003,330 l" ‘— /.l ‘l 2" , ,I Sysnt ‘ ,F\ . {or I " DGVCﬁJLJES.“V " ' '1 r \ N‘ 1" C I‘A ‘

The family 33mb3rs lietenine 3ni the umber of household :3

receivers demended on program intlrcst Mid family budget.

Lanury ‘3 ._ notes r33lo's n, ,:.~ .9‘ 3331 ble imjp ortaloe in the heme: "Of 3 all American families eighty—four percent owned radios but

only thirty—zine percent had telephones and only thirty~nine percent had bathtubs."27 This, of course, did not mean a

good radio was better than a good bath in the thirties,

although many little boys may have thought so. On the other hand, Mama W 3y have thought that "John's Other Wife“ was more

interesting hen the party line gossip.

L’ gandry, T731333 Pncpira+1wn~ Pﬁﬁi‘j Rnr‘iphg J~ 0 (Indiana* p31 Booo -hc rrill Cc npany, 1940), p. 139. 6 . ‘ . ‘— ' J r I 4“ ‘~ “ A ’..'r" -~)' I) 1, fl . 14.13 " 1"“1 (. 'ul V 1 51L“ ‘4 ; L: 3 (NJJ. " 4.2...... , Of 1‘ . .15.? C11

1— 1h1o § r. max“ v "V." 13 (I 3311103 7 ' ‘ ‘N n dor ’1 1.12Q «0.3 {v- Iuban313 ‘5- - «.1 ~' 4'1d, r‘ ‘51,.N, " 4-39 3I,‘ “ f °n Mn , t ’3 staga \ 1A Snow ‘, “cm ¢ .- od’u l‘ C on r Lab .! T H in hbmo“T -- C'_..--, ”a, L, p 331~' T “3.“ JorSey, -1 to s June m .' 60,a /

19,49 9 "‘“ L119 l-4".t14 " " ‘ l'ngilO "‘ D" .1 . bl\;f.<.‘-.U;.‘.b ‘ . ,-"~ I " ' i‘ H "l. b O). 'n h . I;'1”, ‘3 I .“‘~'.,' 1.1211. 7' 12.111311 | ‘ ﬂuff“! y A. o: ' ‘1'? f‘ 1151']. - ~

3d’f hyni I. ‘ too; 1 part n r r 13o: thau - 1" L- ”fixau' . Ow l 1"" atuga ‘5 .r\‘ 3.". 33o“ is” "'- ‘H' ‘ oroaocast - ' n . . ~' ‘ 1n . erfeot Pool" in 1922, he was protably the first genuine .5 “J :II‘

.‘ their shirt 1 i tw.%:d up: tol: 1KW“ 033333333 and artis*s wJo were b1 led later on t1: r11““'m. Quay move a l iPVItF 1313 ~ .... two .5», LLu¢1o 1 -' ‘ , w a: *- to view ‘Vv 133 . I: ,d 33mm v~ ‘. , a». w 7 . .. -2. ~ v'r $1 , l\,-.~ :H‘w‘. .-- - 3,1,... ,. .1. ‘ 5 1 Z“ 3 1.1.1».- L; -’i . -. -..-u ‘1 - " can-l} ‘ Jaw-xi. LIL).

..p... _ f} I‘m" Tc! 0:) A 7 (\j‘u n C l: ’ gm” , L 'v (I "‘ 1“ 4‘ with 131935... - -h—L .. »- ..._. .2 u- 3%.; ‘J‘. zts o1 1 1 cwoour“*o hf J. "‘ 511.3 “WWﬁPﬁL-érl 11.117111 113 (into Ho T’“”’L cnly Lao re Sponsive 3 'I"! 1t of his 54“

‘ .... 913515 ..

'1 '\ doubled €133 wit1111.11L“‘ Had ‘ 3 ‘301n a mo1e f1n aquent radio parloﬁmer, ho M0113 hzve boon able to imagine the fans in thei: homes tuned in on his program and convuls Cd wiLh mirth.“° After Ed Wynn, came a long 118 t of radio comedians. Thea a comeéians found their me dium of radio and an audience that Spannod the United States via the National Broadcasting

Company, fou_ded on November 15, 192 a1d $31G Columbia

Broadcasting 835 tom, founded on September 18, 1929. The wmody pro~rcmming bega. to bubble for the networks' nightly entertainmox1t brew.

Q 2°be“tel, Pf"*o“‘“1 Hﬂng"", pp. ’2—33. In... thing;w—

'3::* c? *'”"’*'CC'1 r f it: -xiv ~ i.= 3" i s:“’: :71nl C"1‘?:3r Ta tie Cut ‘ C ” ‘1' '1': 1’3. L" 32‘.) fi’ '53:, ting“, t f 221‘: z“: 211*61 c371.":rc’ r 13 z ‘1’. E ii :1'5 CZC‘C ' 1:5.” “‘:, 1: :C:E; : 1‘15C;1? 1.4?f‘li. fr':"C : ‘ :5 --w. frb f?CfiLC, C”! a : C; C, c,“ in {fine Liflfki). O CC ”:2 “s IC‘““‘J £1 f1'““e“‘ I“?E -. a :fC.‘ o‘ Cinznicnia ExeC 3 ad a e3331C11'-l*e i ‘1 1n ( 1" “t a: 1 11:1r~‘-cn u“; diC‘.,‘ELFE'r'.’r.‘<",‘-:.L. 1 C) (Can C {RC .' 2x .3“! 3‘ r: .‘~_'C 3. C 11 ..,. “.3 ”7'3: 4, '4' n. a $.13 we...” WW}. ... ., , , 3' .fi 5 , .57 .3 :21: (4.. ... 1‘ 1,7 , ‘,.“1_,,,gp,n ii ‘1 ka\. lady; {) .- ,.,I,..’. (r , _;_ 5} 1, .j‘l \J :- ( - .' )- L’.‘ .'. .. ..lm \. 11"“ ‘.. LA: . “v.4 r) A K‘!‘_'-_. ..'.r.1.-.h-C'\). s tr (.1157? . 1’1 “C form's 01:. "‘93 51%} C r.;<€‘.t:,',.:3 of SC sin]. in CCIC,:rse were LevCr For: vitnfisrativw'v {rd freely violatcg. The . satisfactieng were ’ cnorngus.”/ .- .,'

Am r 0:;1nsfallewe31their favorite radio comeliens 131th sineer PI loyalty. The radio cowcﬂi 18 engsgiLg luring the Depre83101 joined Ame loan f"”il‘ in their homes nigitly or weekly saying in tnClr own we ya, “Don't give up: We can kae it! you bet we Cn!“

Radio comofiC 3, shows in the u1irt CiCs came usually in three diff rant ErOj?'] lengths. orlfir fifteen- nj.nute broeficvsts, five ni int 3 a week, were “Amos 'nfi Andy, I! kJ

“hyr‘ .fl 4 31a In L::.1ge," 1d " "Lnsy .fif hCGS." '\ , 1 H ,(n eij -'w haflJf .a hsur rlm.1am .0111.“

§ comedians on Sundays r Tuesdays, were Jack Benny, Fibee

Kc gee 811d holly, Burns and Allen, Bob Hope, Red Skelton,

Ed Gardner, Eddie Cantor, Joe Penner, Jack Pearl, and Al

Pierce. Two weekly hour-long p1 cogrem s were the "Cl ese an

Sanborn Hour" and "Town Hall Tonight." Many of these programs followea a thirty-nine week seacon for up to eight or nine continuous Seasons on some shows.30

Themes or characteristics of 1V C-pular radio rerformers or their pro: -ams usually changed very little. Jack Benny

29}Bi Cr, 11:7. '13:, 1:1). 2?;3-2730 ...-3 I ‘ . ," ”- ﬂ '_ - o u v ‘, I - - as - I_-

@3143 w or LIIIIJ. ‘1 .., I rdP’Py -. to -...-. Iver, , PECdiib. ..w-ﬂ

2la2tnIn 3 4n Jar -. emu ‘1‘ 1 FCthT at.) swc ‘ ...0( s. cmnx::ma~rw"slullf .v‘ 1‘ ' A. " 63,3 f! t . -. d 5 liflufu, A- ,‘2 «93 ,,._.. . n .. 3,3 to .. . e Sh .... uretItIoas g. x . .g ,. V”-I~Lrogayus '2 AI .1. ..n . . to amen; . I ,9 or . IIIII,r I 5.- n.‘ on; r. ' yet »-- J- In ' -~_ "- -;3 3;. Cflm «. :5 131., Int; -. {If ur. (- *Innxe 19- » -' '3‘4 on ' thflb .L. sscovst . IIIf . J. tag 4. ._ Laolic .. 1 .° , Is.2 :IISILIInt .. . - 2 r .L ....r, only .. . .I- b0 a aegpte. 'u _‘ u. ., {\, Iney ", luter 1. tne v" IIgtuie «,‘g _, 4. - as ... t 1"‘2'6’ 1533 ,.. 1.” 3It ' thCJ .“ ,.’~f roluse J‘- s

-\ .\ q 1, L';" '1 .. 2 . J- n‘ _,- «' ..‘l'n , r‘.‘ a -| .- r- 7 "no } . a a. r; U - 4. —1 t0 L3 L3: ;’-x~'. l. 21 Luis Ilium-33 (:1 .é. 13.1%; 5.311; 12.2". .331053 . .1 L1. a l Lutely ‘Q a .. A ll ltIrn.s A A,‘ v 4 of ‘ (‘I MdbL say-‘- - - Cdugbc. i ., . ' a «_ w. I I‘ .I .o gone O . ,1 A 13 . lhllnlte. . ' n: . 31

T} 13 cnIt ” pIog Is “ were ‘ v421 t d' f=“ as oncepsions, ‘ ’ s t‘ ne

qr {— most consistently deni o-‘h- J 3.n I pWIgIaI.;s in the Golden Ame o

Basie, but they he& 11 horen t probltws.3‘ ”here was a LiIh denLI- for coxedgans, sowed Y WPi“C?Sg 001v cal’lstrvctir onists,

T'. 3m; 3(f'2'i(\ m (‘ and comedy alreetors. Nav (.‘Al ~-;, onied exiswii ng ones. On the big couedx - __ , ' nights, , . n. Iugsueys a ,. ,1 r and '

Sundays, the same 3:3k3 or 30 hes might have teen repeatem In three or fog r programs cquenet. . hhile 1 pro w g ems ad l fairly consistent comedy f0 rmats, much-neeaea fresh idea 5 were difficult and costly to pro duce. “Comedy cannot be Grains I." y or fair or mild if the big ratings are in View. It must be socko, colossal, luigk n-power ed, boff , full of ys‘ ks!“33

There is and was no formula or a :6? to the success of r(zdio comedy. Good come 5y prOgIa.1s sometimes required eight or nine years on the air to develOp their own style and

A‘\ I, (" (.1 31Lanfiry. EffilfiLllxéu 1 713‘: I.“ t.) , p. 184. 32.13am. p. 29h. 33212151. . p. 296. "H.u...(.‘3..-.i ' :3 '41-; CH4. I’_'y I;I ‘4 LLB» ‘ f‘ .: '. ' ‘. ..L .1 CéLIL~J€g11KI~jI". '1 3 w '3” C‘ f lug .x v Chi. ,\ N ugfly‘J. C». .1— :1: - . T713- LIAM ~ f, . .4.,.{.i-:J.;»S. ,1. n r-. r" ()1. . 0 c» (\

I‘clulo r 1': J. Ci)“ "h f; .3 A.32'“, n ‘4' -.._.3' ..... 23:: 3. CL} C .. 'tf‘ k; 3.3 (if: ‘ i) — a, o{3-..QC. ‘1‘" vs : 6.11 ‘.._ L11 Lulu f) pulmiw.vvvvvv y“; (“H-'1 Z1. . {"09 My GA D L‘ﬂ bub ‘1 pio'r 4 :3 tbs: J 'V‘\'.‘.I; "I :o. o " f; it. ‘ F‘ ihe t I‘. edgcess ‘W . 3 A _ 1'6 also Q 4" ‘1'" mood ) d" on that ." ~ m‘Proxiem « y a; ' - 0993321 ~’ .... ,x ( .-\ : it -'-t Qt tn“ .1— 1C8 L33-0Q ...... st 4. tiLG a. .4 J c3 u other .3.-.-. g ‘ networks. " o , .0

BBCLLO ‘3 C(JJICIUJ .—-~- u-‘uu- 133.“..‘fjg'difin -- 9 .4.~".' .1 relied. I f . CI: 1.3;} - u- 3373.1 A 01;?“ A113 r§ {Hid Vi f“: ‘, possibly a ‘squirercnt of ccmer inherited from vaudeville.

Landry rem: I13 thst mos "beloved" comedy shows were good-natursdly (never viciously) costs rnoQ with deflation of human bresrru.01c, as in " Fibccr McGee and Holly,“ (F1 bboi)

Edgar Bergoh°s Cher ie thzzﬂthy, oni Jack Benny.3u

It is I’lﬂ‘fi’ {MI 33.3? t: 1:611 for {gr-3.31mi that the one;3Qh ah~3QlQ 13 syn::thct.3. no till ziot 3 tru1y pvyHALJ uiul Cue 313:1,Qn {QVW'U if he is .uQinQ, if he crvzh»' other y;“plo, :1 his rotorts are clover rathol uhcn hqun.’“

Listeners were note ees ily fooled bJ what clev r writs rs

1“ought was gooQ; the people knew whe‘ they wrntcd.. The subject matter of successful comedy programs, to give the people what they like, often used themes of claims and counterole ms, the bre-r er rt with a gift of gob, or the Wild

'Ist anQ American folklore.

Howevoi, radio comedy prog rams could not please everyone. ioQic h3Q its critics, suc‘ as Gil“ Mr SelQes.

With minor enceptious, roQio has not yet created ansuhin" for i“seli. Its sketcnes are 03110 strips or Qirstr3l show humo 5; its music is '11 torrowef; its great starts are 311 irereMIE ht cronts. Agein, L th a few Ixcsptious, radio hasn’t (“-n l”“"ta a new, purely

3:31:33 :3 , ..:....'-

35Ir37. I’CJlerr} ('3' C..." }L'\.‘T" {.31 1 '2 IV ' 1.1:, L. .1 1' 1’ 1- '15." "‘° 11:)” 193.}? 1’15: M ﬁsts 2's; L" Cf!“ 2 to 1:}.2: it. {.3 (791-11. fixiti.‘o 1;: L ii2egr 2?;*o L211* 'ta 2 {:2 :1L tsszwx 3:11 c:::l;’ th221 :2121C" 1t (2? Lin? .xtie :2: 133 23w$e1”1:c:2;t Cart saJLL L30 ,1-w3c‘2. Lug . 110 :43 not two tro2 ht foith 214,2‘ 121:; ’ 0‘ L21L1 r22<.v a (LCL :inizi. Its lLLNl o: (Vt. 1? if 11: 71, '., 1313*“ 13wq31L 3,}xxgse 121 the Count 5 :31 h: ;L .1~“;3 mwlou {1&3 he go“ Stuck.—- 1 I 7 "\"I my ‘-2 ' x it '3 *O, J AVCAIL .L w {)L) 5.) v.4 gg1Lno J

'Although Hr. Selﬁes' 011n132 was yossibly m. :ue in 193“, it

was still a 11 ”LUV 3233~x21t 01 radio cone); in the Golden

Age of 13310. hony cc .nuy pro"““m were only one or two

yo:1rs old at the time, and they hoi not had sufficient time

to matu1e 8223 other a loyal following of die lisL rs who

appreciated 3 ytovrez'” L2.o aria l. Rodi 0 sons; y was a young

art, and it took time to 3evelop to its full p0 ential.

Put tn.: 1 " ‘ is ' the 3 .. ._ "olieot u. ‘1 feoL: J 33320T l' trings the 7

Amorieon prop3e t":9LLer in a \. 2."*3 shori.ng o1 exteri- J .- e12oe and Lino1f$ 102, laughter eL1 drama ncvor previously possible in :1 eo2nzov that is 5 130 a cont~.nent with a xou“~ no“? tire ui11;293u131 {rev coast 30 eo:st, with winter trevcilino in soze se;tiors while it is sun'on ) ‘

elsewl here sne wit12 xiéely v0 13 L racial stre 113. it is a m 111]. ”1:3 ity 01 the 21212233 11nio21'-2e"s that tens of mil? ions oi A2wnio’ns gU1'-lw s: (13,. LUlLunvOUOly at the sanze jokes and come to unde1323 the szime idiosynorss i 8..) (o of American nervonolity oi uhﬂph this element of hi og is not the least seli-ret eelin.g .J/ Radio comedy was 112 cod a powerful force in uniting listening Americans to common joys in times of doubt, sorrow,

and went. Imitation is h1e highes t form of flattery. It is

on this premise that the author has attempted to write four

original scripm , as they might have be en us ed in the Golden

ilbert Selies, "Male and Female and Radio,"

I"? 3’Lundry, ' '1 .A. v Pod'o 7w“1n«€., 9 (a p. 90o. _ n ----..~ -~-..au can: .- -..»- I‘ll-I‘ch‘II-lfil‘ I

0‘ - . ('1 .5. "I-r‘ .! ._ A 1" ‘ rv l “n f' ”HM”: w; r «‘5 ~. s.) Nixie. 'C‘. \ \_«' L ‘ ...,” “T.” '3 w 7.. .<1. . -.c.$ J db 1111;? .1. ~- -.. a .2” t... Qd- “Lu—a . t.) \‘ .2

O' I ‘ comedy agaL§31s (4.336 1“ L.) ever written

V 4.. mwn‘s or K n cowal= '18 a?" u of CO! A. CEL’LE’I‘EB I .T. I

C011}? IDB. 1111:1215. — "L'IZ (.1310 113111.11“

Program L: mm: 5L1: Fifteen miAutes

SCH“ q. OI?) r'h'TT‘“:1/‘w:;j1‘ 01‘ ...-....{7 1Q In -;n3. VA}. “vb—no III.‘ Mum-wad“. um LUﬂ: Grommies, Abnes, I Jolievs ths t's our ring....

A NER:11 dc ad it, Lum...Ah believe you're right. LUM: I'll see. Hello, Jot 'em Doan Sto s...t111s is Lam

and Abner!

‘iA'r H '7‘ \1'.""|‘."1 r1-’.‘""T‘?"T‘ " 57"" " 1' \ VT ("4 ' 3T 3 "u? v 77*? Ar'v 1‘:11.‘-I- II 1/ .1.‘ .91.. . 1 -‘. . ...! T11‘} ‘1'1‘CJJ LT‘.) rﬁn E IT. .I~_1'.. ll.11 1 .‘l 11.11;?)1) _: ,u'\ 3 ms. 49- Am— --—'-«.1— too... a. -' £m~n¢~mJ Mum- - ~— —-~ _ II'A“ .m’. '.' -M "41'-W‘-“~0—- 9....U L... 1" PT}. (1111CIL_LCP__‘""‘2.

ANNOUNCE1: ...and now, let's see what's going on down on

Pir 18 Riage. Well, as we look in on the little

00Wtunity tods y, we find Lum and A;:w at work in the

Jot 'em Down Store and Library. Lum is doing some

page? :orc, and Abner is about to talk on the tele-

phoae...listen.... LUM: (Figuring out loud). ABEER: Lum, is Ceérlc's ring three shorts and a long?

LUﬁ: . Aye Grawmies...l believe so, Abner.

ABHH.: All right. our-7'): '.L“*'7‘7“-? "of” 37:7.) tom 03;: r" o n m wvm .' \' -1:<¢‘9- h“..- -- 1. ‘v‘m ﬂ‘ar.‘ mas“- “QM- I LmL-‘. ton—.- w...)- r- r- 47..- f

1 , of o, . ’n 4- n ’ . .11.? n L w . , ' m . P‘ a. ’ It‘k . ‘ 1 . -.v 2‘”: r ... ., " ”f“; --,-" '3 '- «‘ ’.. .~ fl 4 -I“\." “T c (4 ‘0 " ’9‘», IN- "" g 3; " -' ‘... 1. .. '- -V L, 3 ”V 11 4 . Q J' . ... :11 1'" J. :3 -'( ‘ L; J. . w a.. i 1"- a-V’l ‘19.;K—' 1“1-$ r,” (1):. in. 1

‘1‘” _., J '_ N M1,... 0 Q I“: .1 4‘ C"(1 ( 3 ... 0 «'16-. ‘v "I. ._. f» ..-. O ... t‘JJ- J L‘--..'L-.‘ Asian-2 0 O 6"“ ‘Jr 9 1"?" .1...’.11 c :L O 0 I3 14“. ii. 0 1; L. :3 , (“K/3.2.1.1; ‘J O G O

L rs... ,= .._.,,1 - ‘.f .- .. 3...: '.. . ‘ .1 .. .1. _ - WC) 3 ’ 1. ' 1 J. 0.1. 1-5 \sl‘iii. ix 0 L“- , C\. as J. J 3 E LuZut..£1-,-r1k.1\; 'vh is {303.113

1 Gun - v A. cl . u’.‘ ‘-to11 Lo. tn 4‘ Lit't g‘! a‘o Acall 21‘ A .- _ 1:ettg j» -;r -? SOQL, I _' so 1 hill .1

you go over and get Old Blue ehi bring him deun to

the store here? I een't vent te have him there by

himself with this stor m3 Leat‘3r we‘ve been havin'

letely...0 .K., Cedli o...so longg'. What? Xes, Ceﬁric,

Wenée rful erld.

Lon : Abner, yeu treat that 'Lg of "euzs like he's he mun.

He's no different from any other dc3.

A EN 13; : Why, Lum, Old Blue is a ﬂog, all $1

.11? 0: ant. He's just as smart and lively as any

dog ever was.

Well then, why ﬂees he just lie '02'1d all day and

night and eat er sleep? I've never seen or heard

of him being set ive like most dogs.

ABNER: Why, that's why he's so smart. He's just restin'

himsell for any excitin' events that might come around home. Why, he‘s just weitinﬁ end figurin'

out what he‘ll do if somethin' he p:~ns, Lum. Poor

Old Blue, I just worry sometimes that he thinks

too much.

LUI‘I : (Laughs) Abner, all your dog over tiinks about is

eating or sleeping. (3 ’) (It.

A. In: 331? . ‘30“ '7. Ow?" 7 ’ﬁ""+‘ 0W 1 T"? ”1'3 13" ..“--' ”l m :4" '; ‘ 3~sn117~7 U33;- ‘90 a».-.:‘. H VIA-.3.” '... Ll All-4A1 u .. . —~—‘..‘.,La.‘./ 1..'~., g Jm‘ 3...; you 3.1... .. \ ’..I.~ v 0 uLv

éoosn‘t these "nicksns like aunts £23325“ dog,

th, Be22223323 got 122:

ehceh1n stop last week snu ju:t 233223 an awful fuss.

Didn't hu2t any -hioksns thszjh ..he just no sea ta

Well, “L 'g::.2' <3 idr 3;; 333:3.33. (301 «think Old

Blue 022 h 22333 see out of those sad eyes of his to

do anything.

Non, Lug. Old Blue Les the hs22isst... (Intem .3t3) \IaiLt a mM Lute, Abne2. Here comes

G222 23222 429328. Get busy end 2ut away some of

those cons, and I911 look 1 he I‘m serk :ng her .

Grannies, let's nit get into an a2g; 2.2n nt inth him,

t G LLB-3":2 .

so [KID : J.. mm 'ML 7‘“ “A3”?3.-” mLp.oCmt‘.V')T',‘ m.30 33m L you .Vf‘f‘hl.‘ ,N so; now-rm -3 2903 ,1 Dents 52.1.:-

‘— I-'-. .- mu. BELL 23253, to” FTo"““. ‘.., Howdy, Lum...Ho3de, Abner. (unexoitedly) Hello, G2u.dpsp. Ie‘re busy. (also unexc iterdly) Hello, Glunoe 0. Ya, you can see

we haven‘t got time ta g;ossip toley.

Well, you fellors go right ahead. I'll just go over

here and sit down and...

11hr? AB \ |J—’?. : (Into““““ts) lot there ””233 .p: Tizst rookin'

che 2‘s for Old Blue today. Cedric's bringin' him

over cause 'Lisoteth fiLd Little Pearl are goin' out town for a spell. .C; - q 3“", ~"' ‘. l». I \ »'. 2' P a» o- e *9 r- . 0 * '- . h. A . u 1A"!- v x.:‘r" .- :'5 p‘-« » ... a' | I '. o- -4 . X’in' . r-n . . 1 t ‘fi‘ fin; ’V‘: 3“" 9". v V- .' ants rur} ‘3’ ‘5‘ IL k-u' ‘ ' 1. ‘5’ 1‘-‘\»‘ A". {I ‘... ‘ .3 ‘.. in n ' l, "5'4 U 'a. l ‘

's- .L n o .3...‘ ,1. 4 ‘2‘, a ‘.vr N J g..- r. .‘r H ..«. 2-, 3'. ‘c in“ _'\‘r' . {I -,. yC'II ‘.‘EL-«rl LI ’ L .l':\ L3 I 1‘. ‘5. 3;; .1.) 9 (CINE: (J. J v.3) 5.; (335.3,” .13 t kit-J L1; : ..." ..L’. 133 3 C(31). 5C2 . .

S“I$Q&: I know, you're busy. O.K., Armor.

LUK: Armor, oho:.h how many c :As of tAanz are on the be t mo2

shelf there. he should .:¥~... SPEARS: (Intorrupta) Say, you fellers minA if I read your

paper?

ABHVi: No, Grandpop, go ahead. Now let‘s see, Lum...How

many cans should we 2A"o?

S PEJ‘LR S ...: m :1“. (E)

(D .heIe hexbx.AL Biédle hid her tooth pulled

yesterday. Says sno‘s recoverin' O.K., h ugh.

ABNER: Graniyap...

SPEARS: Says 812% Aidn‘t knew it WAS a had tooth. Says She

felt a pain in her big toe every night after supper,

so didn‘t know that... ABKER: (Interrupts) Gr AnApAp...can't you read the important

things first like most people? SPEARS: 0. K., I'll see what 813 o is on the front page.

Snake Hogan's dog '3 been restricted to his dog

house by Squire Skimp. (Laughs) That poor dog

gets into more trouble. Chasin' CPLi ckens t1.is time.

Why A esn't Old Blue chase chiolc one, Abner?

AEN‘-: Grandpap... SPEARS: Why, Abner, come to think of it, that lazy dog of

years never does anything except sloop and eat. Why

doesn't he ever do any heroic doe or chase rabbits AI . '2‘....-. GL‘~t:.‘.-,~‘1':--l,’, q”! ".H- _‘ _ n 23"”)‘2.l 1.1.594! ,. l ..y. IVA—'41:" A «.-.. - 1.3.2.). \ 2': 'I “...-4.;g2 , g, f~2.. '.1 .. a 1.2334;‘o' .‘Lb,- ., C110 _, . CI). _.r~

‘. ‘ I ‘2 3-? Q ’q a n“. ‘2‘ -‘ A y, n.4,2 -. ... 7! ‘ ’ . ”u ,-- A. '- t.i‘3 81;.2,-v,~‘! ”‘.I ,: 23L (Til-P \:;:)'» 'LI’L Iii-L“ I“ :33 1fk~~_ﬁ k‘;-' . gig J12.14‘L 1L1.Lg‘l:3

ezcnsi. . L.As 1:c1>cx2t 4. CL 3.. Arousal. ~ - , .,‘sI , Just 2wA.«ni' L:

from - Aengerr‘.‘ - .. or these a ~‘Arcxtor. ‘

933.31.111.13; C‘ :(ﬁ -.| 7" 7‘ Mel]. _T I 1 1,111,111, ”=9 ’ ‘2‘ 1.111 2.] (1 - “.131, ‘w 11:2 p‘ ‘-'”' (”C {'..LCZS I’LL! 313:.1'33 z Oi“ . hunting ” ... .

to kgep hirn self sharp, Abner?

AEKLA: New, G1 An1.An. Old Blue can us just about anything.

He's just conservin' his strength.

SPEARS: (’ Ather, if that dog's been conseIVin' his strength all

of the se years he should be as streng as an 0".

Sr ABS: why, I bvs2A t) at El.sie Bricr2r‘s CI.t shes ed a W e

herd of CI ttle all ovezr Blake Barton‘s farm one day. Blake sci? tELAE est c;nzlA have t cklcl Q) a mo 2 tain

lion that day. It use so mean... ABKEA: (Interrupts) Grandpa p...

SPEARS: ”lsie claims that all that set ever did was eat and

sleep for five yes~s until that day. _Ssid she fed

it some of her s13e cial cauliflow - rpie by mistake. LUK: Cauliflower pie?

SPEARS: Yes sir. Kade it with he er own recipe. Mixed up

cauliflower, hers eredis sh, onions, :ild peppers,

garlic, and wheat germ, then boiled it all in tonic

aster and some of Al Potter’s cider. Said she put

it all in a pie for her 03A man's sepper that night,

but fed fart of it to the cot ‘sy riAtIVo. Well Tc“ 1-; l ui=s site. (LFLr: )

Yes sir. She said that est TF“’T moved so fast in

11 its ife after it ate port of thxt pie. Said that cat looks. as mean as a hull when it tore out

Yes sir, that cat went out lookin' for trouble sure enough. He chested Bloke BsI toI' 's herd of cows up and d :n that field like a eras sheee3og for an hour...

SessifIzss!

Bloke Berton was afraid to go hear that old cat for fear of xwhit its .jet do next. So, he tried to get his dogs to shes eit aIIey, bu t they wouldn't go r52hrre r.:sr it.

S-a—n-sifress. Finally, the cat got tired and went home. Elsie says the cat slept for two days straight after that. Didn‘t seem to bother it otherwj. se. She threw out the pie though after that. Thought it might not be

good idea to give it to her old no. that night. Grannies, (lau ghs) it's a goo d th n3 she didn't.

Grandpsp, wheie did you hear such a thing? That's just a little fer-fetched, if you ask me.

Come to think of it, an01, I he ard it from you.

Yes sir. I know I heard it from you. w J"!

Lu... CILL_-L<‘I, Aw A* I, A (“Ito") J. 4 J 12:13-13“. \ 1"....4- 3 *r , (3541 {IL} . ..s ’3

AL. } 1‘“). .. In, Y ., ‘.-‘J. '0: 4‘ ‘j‘ASp . ‘- CL l'i'. Law}. u.’.. I 1"... A‘ ‘J' “l\ -30. t: 3’01). .- 4 Oh“; I‘- So... J ‘FI‘ 3],

Gren13: p. I told you the no aLoLt I1sie Bricker's

b: 0“"rm—ilml.3.z=:.

SIJAZS: NO Six", [nil-.1631”. I REESE”? it WC) ‘3 3'1“. 0

ALLLI' 1km: look 1“:3,Ch~“ro p... p.p.3. -h.¢§ 3 T“: r“ ... o m ... I. A o ‘ c \_,.| ’ . ”W'-‘._‘-*‘:“1-.§5Am-—:1-“-G‘i.u-w.l':m.b-‘—Um\-f‘.«~ SIEARS: Yes sir, it was you, Abﬁer. ABEER: 10w, Gran Loo...lou soul 1 I have told you a wild

story like that in the first place? Why, I... LUM: Abner, I holiove that we s O)? ring

AAEER: ink? Oh, ya. I'll get it

S ZSRD: You told it to no the 3k Lo; o:~ lost over at...

ABNER: (Interrupts) Granﬁpap...be quiet, now. Hello?

Jot 'om Donn Store on& LILF‘“" Acne? Peabody doin‘

the talkin'...Huh?...ya...he's here. What?...all

right, I'll tell him. Good-bye. Grendpap, Dick

Huldleston wants you back at the post office right

away. SPEARS: O.K., but I still 3 ey you were the one, Abner.

ABIIEF: Grandpap... spams: (Off mike) So long.

LUN: So long, Grendpap.

SOUND: m3} OPENS: PIT-L RTZZGSL P0071 NOSE;

ABNER: Do5gios, Lum. Khy is it we alwags 5et in an argument

when he comes over? It never fails. LU 1‘ I 3

Iv. :" 'jj‘b Q Isa/IMMJLL o (Lcrzau

Grannies, I would have liken to .330 seen the eXPres-

sion on old EM Be rtou’s face when he scw that cat 0L3 :35n‘ his cows. (Laughs)

AL‘REB: (Lzughs) I L‘3315eve you°r3 r5."ht, Lum. The would‘ve been a sight. (Laughs That old cs

was so i"?0‘““ envwe y. (’sughs) Yes sir, just

goes te show how mgscolevsu thos .3 animals can be with Lea owners. Yes sir. (vagu ) Hell, it I—:as a c;ooi story for you, Abner. (Leugns) (Lenses) Yos...(luun-o)...1u11'P My story? Now,

wait a mixute, Luu, I never...

magnum Ar‘ ‘r ..:(3 771T 3 ‘.r r‘ W Txnfvr) YI‘\C‘T,‘ . - ‘..- h ’..-.1 o? J ‘ I” _£..'._J,T‘_' I‘I) *f i I”. ‘ (3;: ';n_:] 9 -!.;‘;:;‘;J._.~.CJ_ ‘_,;.~13__‘£ .

:0-.- AL":

'Well, hello, Housey. What brings you here?

NOUSEY: Hello Lam, Abner.

ADL:E Ya, Nousey. I thou got you were helpin' your wife

clean your house toda y.

L; MOU U) Y

Q Yes sir, I was up to now.

L .‘1 : Well, why'd you quit so soon in the afternoon?

NOUSEY Hell sir, I got word at home about the contest, so I

came right in to town to find out more about it.

LUI'I : Contest? What contest?

ABHER: Ia, Iio‘sey, what kind of e cortest is it? It must

be awful inso: tent if your My 5fe lot you out of the

"house. ﬂ I .‘ J T

‘v, well 8.“. ,v it,0 23 ° e -_ big 1 : .. contest -. . .3. ..L. fees 1“, ,. “.1“ I IN;a - e.

m Lhovgio - 1 . surgesel . , ' .3. b0 be 5 en e1 .. tiole o "- an c it in too 1

YT’f- UOL. There is? Hell get {3;o duper over there on the

. '3 ,. _ \, ._.-,:5 a,” V.

box, Louocy. tgeoigso we U} reelin' it a while eeo L)

but dic1't mention it.

'cr.‘ (*3 4 HOUSE Us.) L‘J—l 6 It should have all the details.

”“73 {131: J.) 1‘ Dorries, this sounds like sozuething big. I wonder of a contest it is?

res d it out loud, Housey.

Yes sir. It says “Pine Ridge Pet Contest to Be Held

next Prim y of comet: .

ABE ll: Pe t contest? D***.eo, that sounds don't it,

Lum?

Hell, I rock on so, if you've got a pet. Why, sure! Where's it gonna be, Housey? Does

'1t say?

Yes sir. I'll read on.

A rmoil-“l. ' Ye~Ye...good idea, Housey. Go ahead and read the

article, maybe it'll say.

DWOU EX: "The Pine Ridge Pet Contest will held next

Friday afternoon in Pine Ridge."

AENER: Well, now, that's what I call a gooi idea. Yes sir.

Have it right here in Pine Bi ge. That's where most

of‘us live anyway. Wouldn't make much sense ta lieve

t a/‘wrv. M.,.here else.

LUI'I : Abner... A _mw- ' :1 1‘ 1‘ I I: I ‘1 F" ._ ‘.. a ﬂ '\ a 1‘. ‘ " 1 4L . “ pv ' 'v M3 ! 1" , 3,. I .t. LnL—L. 544...!»0 ...—ti... 0 { ..1 U .... o O Q t ‘3 L.-.;.- (— ‘-3. ’\ VJ. A ‘.. L4 9. .- l A kr I.-. 0-- J11 1J 3. 'l-o' 9

1”. - '\ ~ 1 -, r r ‘ \r I. 1}. t— '1‘} r- 1 . ~. I y ? ‘iLL \,1,. I- U S b «'.....A. (J 1.... I): _ I“ "u

.UIV‘ 54"? \‘I ’ , -. c - .11 etc m. ( _-( , . . .- w Lg; L,‘ ~ . J. «L rm: «£110 1a,,\3 £1») Hg). 0 uL.l..;

blrm‘.‘ a ina: £53-)”: ‘..-1’. (:1 a ch11 .' ' LJ’ r . {JLQILSb - o. at ‘38 ’ on ’- this -..

4. H C151 LIE.

bounds " - 1 like ' .., Diem .n Uhhhi”uCCﬂ'S’T.‘.‘.",,...:. ., in charge A 01 .0 tais. \

nd will judge the pet

ABNEI:

LUN:

S10 guess? E ,2 (j £3 L (J. '..:- C1. 0

HOUSEY: 8'1" \YC‘ . "The contest

})llle Rid‘”"3 I’v~i~i~-.. .330 I-lOtee 0‘31”,

11y one pet per resident may be entered in tie

contest."

RENEE: Well now,

LUN : But Dick Huddleston's the only judge?

HOUSEY: Yes sir.

A Iv ER . Mousey, what does it say about how these pets are

goin' ta be judged? Are they gonna have a beauty

contest for pets?

NOU m H”. (Chuckles) No sir, I bel eve not. It says: "Pets

will be judged on obedience by their reputation in

Pine Rides. g Judging that day will be on appearance,

health, nd any trials t‘n ey c n do."

ABIIHR: Doggies, Lum, Old Blue is jista sure shot ta win

that con es t! ;()33§Ll. “ r‘ ‘4 A 3 oglné ‘1' -= 1‘3 - L till " .\’ L3 333 5" “‘3'. ’ " 3‘ﬁ 3:3’ " 413) 'j' h33333 r

h33333 ,4 . J- 3A 33.1 4-”... 333 3;,. J. 1... éJl .- :1 J 3 ‘.- 3 tuner . Hill H9 IQQCLVO ’.. .- - _ 3:

33333 . .a 33 ...n ten Liualo . J. 3; in f“;*$. i333 331 1333 «:- 333333 .-= 31 3

:3 . 3333a. , -.3 ;:Ch13313333n‘c v 4.. 33333. ' C: 3333,3nL3

-0 n need shlv be present on 33y of juiging to participa O

n. ...-..X Doggies, L33, Old B13333 gonna win that Pet Contest,

I just know he is. (Laughs) Dr 09133, will I be Jroud, too. (Laughs)

LUM: s all right, Abner, but I can't

figure out may Dick HudleSton's th3 '3333. HOUSEI: Well sir, I celiove it's all right. 68 we: "911 he doesn‘t h3vo 3 pet, and Les ides he‘s giving awo.y

the 3333? and flou *5 as 3 pr :3.

LUM : Well, I reck3 i t all right, then.

A 13413 1 Why 8333, Lum! Old Blue‘s g'nna win that contest and be P in3 1m153 Rasoot of the Month! (Laughs)

LUH: ‘Hhat makes you so sure Old Blue's gonna win, Abnor?

ABIJSB : Why, Old Blue mee ts all those judgerents. Why, he‘s

the most beautiful pet in Mi ﬁe Ridg3...

LUM 3 An old bloodhound?

ABNER: Why, sure he is, Lum. And healthy as a puppy! And

tricks, why, he can roll over and play dead so well, he sleeps for days after he rolls over. (Laughs )

And, 033 {gies, Lum, obedience...xzhy, everybody knows that Old Blue's bee:o tﬁze nost ob: :aiont pet in Pine

Ridge. Why, he's hover 33*333 any trouble. ('w'ﬂ a. ’1 J I

T?‘{ '... r Lon: in. rhzlo‘o -...l " oecgueo _,~. at “a1'9 raver ‘ . 4 h3g3 q I"\. Lhét“1* n“; "- exoe ° :It '1“.

oat "I! Lil If- rice}. ‘ ‘

.3223: " ' hog T . and,T .. you ‘KRUd o o tuCo A?» Jr. dog - is lore Ne obsolent ' "u . ' “’ an

troﬁo3ea 200~r \' Eden .-x n'»~ an" \" . moi d in this 0; huOlG, C’qo I entire '

‘sn - :1 II C(J‘ LilltIy.’ "111$... O 0

T‘H‘W“ 13 ‘ m an?) f‘v-t "wr- T} In (“T \I\ In 17( 17m

. i ‘. I. ~ 22. . I III I 0* I; I I. o -_.:.np gmin-D'W. < I ‘9‘.“ ,. urn-"Jury”; got-o‘. \W ~(g-.q--§.1-;1«M_‘h‘-'mm‘. ;‘n-J' ...-r131 CBDBIC: (Out of breath and excited) Hr. Abner! Mr. Abner! ABUSE: Well, Cedric...Uhat's the matter? You look like

you’ve run ten miles!

CEDRIC: Eo3 mum, almost.

ABLE}: Wot do you mean, Cedric? I thounht bou were

bringiﬁ' Old Blue do wn hu re to the store? CEDEIC: ‘es, mun. I starteﬁ to, but 012 B1 ue saw Elsie

ddle's cat inside Dick Huddlest.or e's store window

Ind he lit 01 It efter t into the store like.a bolt

of "igutnin~ ena chased it all tlw" Ig‘q the store

and brol:e all kinds of things and then last I saw

'em he was chasin‘ that cat down to the hollow and... ABNER: (Interrupts) Oh my goodness! (Off mike as he leaves)

Lum, 1311 be back in a....

MUSIC: PALE UP TO FULI ODGAN HBUH MUSIC, THEN I-EUSICT , DE AND OUT FOR 0,). IIG CSITT CI2L IIuCV"CIrmes.

J‘-

N- P“ ‘l.>“- \‘i - ﬂ G H

”3‘, f. '\ 1r .. 1‘ " - ,‘§. (1‘- -‘.. . ‘ﬁ .1 ...... a. 2 «A; .J ’\\“- . . :\.r‘ , . + ..., - ‘.9. -1‘ _ u "‘_ _p j C. 1 - "D ’ V" .‘..a . H c A J-llv I ‘v £1).va svtl‘u b43411. J. \f...... '.l}- ‘-.; Law. 9“) '- .:.‘~...- .J'sl .9 («i 11.1 Uud Orv

GriéLﬂCL, I, o. u‘ new s .54- UCLuAL, -.:- - and “ u ‘i 33333 y‘- _' a 9‘ on -,-. exerzetzs ‘ - n .\ can . . l' program (f _

I- .. ». ‘ _o

-.Q r . - '.‘.,, p ‘\ 5' '!.",f' F") ~p J

7 . ,. |9L13M “I. I‘Iith ‘7 \ é" P I'

FQ I .-G,‘ l- StuL.j. Cartwin 33.33 3151;; D I EH_ certain . Cuezagoers 1- .... ,.J.-... 1n 0. actagl .-. .. pronzans . -3 . hhvo ,. Lwen ‘.. U,c 3 ‘J Ln.v

these script 5. However, any resemblance of incse LJ- ('1’ '..). U) '2: 9%.! in plot and c:3nt:nt OO8Dy radio Ce"3dy pro; rams of the past

18 strictlyc coirm iﬁcntal. “Lum and Abner“ started on N.B.C., in 1931, and was aired for tnetm’ -fcrr years on vhe N.B.C., C.B.S., A.B.C., and W1 1 networks. Lum Lewcrqc and Abner 1C3? 3L3dy were the two main characters in the program's fecal peint o; the

Jot 'cm Donn Stare in Pine Bid fictio:fLel tozn, but in 1936, the resinents of the rea l town of Haters, Arkansas, changed the town‘s name to Pine Ridge-- a gracious 53sture to two beloved r3 lie 3333C? Len s .38 "Lum and.Ahner” has become probably the lone surviving radio comedy dialect hLL.or prog em, since it may even today be heard in syndicated form on many radio stations in the United States. "Lum and Abner,“ of course, was popular in the thirties, too.

The thirti.es were a time of innocc.ce 5 and 1rnore nce p, and 09 rtc_nlv 10 p ir we S better suited t:3 it than Lem Baum res ant new3r featooy. with the single exception ' m C"?

of “Amos 'n‘ “nay," "Lrn and.hbner” wa- p.-| _, 3 ’..: most pepular dialect Show on 'ad10.87

3 P Fr-rnk :uxton z no 352.11 .. 0m 31;:"ac3_:~.._c.:1::.:;.5_.~: (New York: n.ct;n valley Press, 19ob),12. (Lb.

, 393 1" 1171?"? “‘9 21‘“...”:.‘_?:-3:._i3'-:i7 In.” Sgi‘rden Cit-m IVCW YOPK. LGUDICQLLy If: boluJ-AJWJJ, ,1,,,,_3,, 1‘, (9,995.) 3;). 300 Th: 3:3133t h» 3? on ”L31 331 At 33” V33 3 T33231, ntt othi~ cal. erhags for this resign, thg 3135333 has tgcn nnscatkei by protest 333393 to this day. The {3311353 of the eoplo of +h3 r“gion 13n““”ﬂqt in the ”13"“"3 n3re b33t illustz 333d unon ‘ ' ha +f ~I“ ere, Apnanpos, M 1r - 'V". cz3rreﬂ 1 r. its ntn3 r» I *3 '1 11ne . ' Ridge. '

As broeuan‘.1 -~~ Cc $363n 333 1.: Charles ‘ A Currell ' - ' .' [It reamcd “ t“- up

Lauek 321d Goff had been 33.33335ful busjz119 ossnen in A -~~ -_ ‘o w " , '5 c". ‘.. . ’1 ;\ n .. 23- A an. 1'0“ 7‘" ‘ f‘s'l’?(‘ . I" I Gib?" ‘ a- B “3113333, n31o13'- .nav ‘ E o1x« J .— ‘v n“- ‘ a .

Laucx 333 an aura 11r31~ car” 3; is? 3: .1nd 301': was secrvtczv of a groggwy Qgfifi3fiy outbg by his ‘3*her. In 1931, tksy t31k Tfi?t in 3 13333 I 63Q333t designed to reisze fun-3 To? ylccd r3113? “a? K53; V‘S1( 1ts. The tfio LOVH’om fricn13 theumnt of @3133 a blackfaee act-- they YU”B 313331” 3333 at Q1313333n4fi”t corroue else b33t 1h3n to tho 3 nah. In 3 13% nifutc3' 1133, the"

6R¢ﬁftme \F ‘.-- ' «1 . »_) - f ' "I'. a...- _ ‘ I‘."“|:’ ‘10 n. L (w- ~,' I '1 ‘4-v-,,*..~4 a - r‘ '1 '1 . 'u—J. ‘_sr\ ’s. \¢ 51. : I, 1) ...: LI ‘.'1A~- '..}. C -(.,' L'n: .. \J C.“ .5. 1.121. ﬂ. 4 J'..L ... '...‘n ‘ - 'J. (1,-3in {AC-L- 11. {JUN}. .‘ a, . L‘- 1111511.? 3.: 1 .. 1:“.37 i..tl.1‘z,)l.3f_- ,3. . 1.1 11 8. ,.1"..31.1.'L'}l't1€. ("17. 13:13-53» ,. ... $13.53 ,, 50 {0.0.051 , 1 {Au-113.121- r "K .1091 T. \’ ‘0 " ‘ '3 “'1 1 1 ‘ :4:'. ‘u. 1. t .,.I 1,?' ‘L ’3 J L}. ") ""3111"; I“. ‘.- :11 -— {2111, ~\,.\ .0 O o (1 7‘“. 2:: 1.1;" 12:; (iii-”Timmy, winch ’.L'} 13,] I'L’“"i]’1 1d ( 0 , e- _~..v---.3-.q 133 L, ,aey .. wor ed f3? F33” cu omtbilzs, Horllcgir halted Milk, General Foocs, Alk3~531tzer, Goueral Metzrs, and many 10331 33 33333, (py3331ng at valious tines on all four #0 national networks and syndiCSLtod to ind2-13ndent steticns.’ 1M0 r13 Goff's grocery e: :perie n.ce mus t have been a determining factor for .he decision of the program's setting

However, the two did not decide thez1eme of their store themselves. Lum and.Abner aslced lis ten ner s to send in suggestions for a name for their store, and, of course, they chose the name of the Jot 'em Down Store. They late-r CXpanc 6.3d its name to the Jot"em Down Store and Library, as he store became a bit more scplistioated. Lum devised a greoti1g ca.rd

r071 ....-.I': a p0 570 ‘ ,. r - ,. a I _ _, .... J_ _ .. 7‘. , ._ J. - .... ,- ‘ __ r .t y I ~. . ,- (v‘ o o- I. ...; ."‘ J- .. ”- ,- ’3 , I, ’

C'C’I. ' '1‘“; ‘ IO, 1 11 L' 1; 2'; S LJ‘.-‘ J.) (J5 . o‘v Li: S '3 (.r'. k; C ‘3 i‘\‘ -) I'} ix W a ’ 1 . ~: ‘3‘! ’J (‘4: \JJ. k': {I 1—111\ " - '.I I. 1’

.J for a cute little beiy .— tlat someone just happened to leave

Ev acciﬂcnt in the strre. Lum ch.At;er ct3n.tricd.to build

a rocketeth in on3 series. “ncre seeuci t3 be 110 3.:Llnit

their wel7-n23‘1~; plane or proﬁt obs.

The Jot 'cm Down Store was a focal point of activ-

ity in Pine Rid q;3. Visits to the st3re by the program's

ot1 er ch:n 301333, who always seemed to cad to Lum and Abner's

Own in.r U?mnunt”5 c probimeas, ad d£3d an interesting and plea.ai ng

variety to 03 ch pr'g2em series Deev-v01030hcster Lauck

p18 ."cd Lum Lo“31on, Gr"nc33' 3* Spears, ﬁnakc Hogan, and

hanei men CeCric Uehunt. Norris Goff pk m3 o.d the hi gher-

pitched voices of Abner Pc;chy, Dial: Huiilecten, Doc Miller,

Squire Skimp, and Mousey Gray. Gre ape py Spears, Cedric

Wehunt, end Housev Grey seemed to be the most regular

one recters of the cast: Grandpap wee nosey, full of goo sip, energetic, and a little hard of he aring;.Ce d:ric was polite,

friendly, 3 Hortimer Sncrd character; and Mo usey Gray was a

soft-voiced, hcnpecked helper around the store or just a

frequent visitor. Lum and Ab-er were gentle, innocent, patriotic,

devoted, polite, and sincere, ut they proved to react as

ordinary pc op ole also when confronted by the ir many problems

brought about by vorious combinet 1cm of personal vality,

stvpidity, and mis 33‘ ers t3 nd n3. Pernay cs 03

Abrer were such IMan and ﬁg ?.o charrctcrs, their audiences have for over forty-two yczars responﬁe& to them as favorebl

as they have. the enlivuoe he to Lr~c*“toni the biographical backgccune q of 011“;reotc s and why characters die whet they did, when

hey cid it. Granted env listener could exjoy "Lum and Abner“ at first hearing it, but the program was ideally

:ritten for a loyal audience. The cone“ teoiniquos in this script are tie obvious, ejvggeretion, mocnntum, and verbal combat.

Almost any line of this script is a forL of character humor. HuL1or that comes from he: a co sin character sects in a given situationu-he he 3 his own pattern of stimulus— reSponse conversation- then Aener asks Lon at th :ginjin" of tie script if Cedric‘s ring is three shorts and a long Lum does not simply say, "Yep, " but uses the phrase,

"Aye Grannies, I believe 30;" a small bit 0: a humor from

Lum just being Lum. Abner, ins teed of ideitifying himself, "This is Abner," he says, ”This is Abner Peabody doin' the telkin'." In his mlezhone conversation wit11 Cedric Hehunt, two more examples of character humor ere evident: Abner's great love for his dog and Cedric's pecu Mi rgreetings or closings, “Wonderful World.“ Since the script is almost entirely character humor, discussion will now focus on other contributing ingredients o1 n hu:nor. (Xiil MrscLirn.1:;)ix3 .‘v‘ sLerL in \ ‘ "a Ql ‘1‘ 1111111 " 'V.“| cansL. “2' Tu. ‘_ tr IHUQ‘C&ilb9hy’ .1 - . I. 3- 1

I21. .. L11. . . C: u. 0.16;: my S Alexei ’ .».. ’3 ._- c 3 ‘ Q rvg-n“'. ‘..! 1; .-..",.r.-‘!..r .v.I..'¢. 1,-1.5 ' r- 3 ...a biU.fl u.‘ -.-I (:1. n_ p 11A 3‘ E) 1 (Lug; '1.7, v . Lit:‘T 0‘ the V ’.‘l 3:? ‘ ‘5 L 8. ti. AI- 1412th .2!OL 'fi «r! 1.93.1.3” ”"h PI'C l‘L' - 11.3 ,Sff.~..1’.l‘3 . r1. l‘eflul’l .1 A £303.81“ A I ~. ~~ CL 11 A~ tin-do ' {-._-l his .t (1.0 a

The 4‘ comcst “’.‘Ya. SILL"uS ’ 0" ‘ .P- to G r abnei ’I ~\~.r ,‘I ‘d vers . 113 L13 ‘.4 c~0 § spy ‘5’ spears C .. , on

Grandpsp's l“l“ l. Lum hcccmes en interLs ed, nonucombetent third party. The combat cools after —razdpep leaves, as

Lum and ‘ Atner laugh about Grsidpso's story. However, a thrust hi ddcn by a laugh, “Well, it was a good 5 to :y for you, Abrier,‘ by Lum (after it sinks in for Abner) starts the verbal combat between the m s sin. H1use~ “Gr y's timely entrance in the store prevents e11y further battle. Altm ugh houseys ems to prevent any Inn—Abner conflict, Iun must at times remind an enthusiastic Abner to calm down. Again, tte Lem-ether verbal coxnbet iesuncs after Nouscy finishes reading about the contest, as Lum questions Old Blue's chances of winning the contest. Abner just gets a good defense going, when the door 0:3- 3 and Cedric rushes into the store. Lum wins this t;L11e in verbal combat, since Cedric's story reveals that Old Blue may not win the contest after all. The verbal combat between Lum and Abner provided an early hint to the episode's climax. The combet reveals a human weakness common to many radio program plots, human breggadocio, that inevitably is deflated. The reader perhe,s guessed the climax in the script and, therefore, 1elped miint sin his interest in the plot to see if the {4688 was correct. 5'“)

f /) Q‘ ““ C h‘ u, 1 I “‘p FW'H, p ". 4" ‘ \~ ‘ ’ 1’, l‘ JFK-L! van.’ s‘ \ws...“\ -J 1.2) 1.. ... (A Ad kt}. .. L a” .5.” h—‘I -...1 s.‘

CCutPibdoC '1“ ..... Lo , Licir ' < :.:rie.c».» ‘ "-—- at!“ r1\or. .Ithgn 1 - wf Camtkv,bon ‘I' \r fftxwvs: -“

Old a Elmo‘s ' intelligcn-, ' ’.- t and H Francis In JC- J —) eu~ n dz ».c, it.13,1 dogs can think too much, turnesely conserve strength, or be as perfect as Old Blue. Abner also mentions b::sni egerd as being "sociable" with Squire Skin '8 chickens. Grendtefpy

Steers provides the xegseretod stery about Elsie :ricker's old est. Cruuonoo' silly story 31 s on.Abner's dis- be lieving ee:rs, and only fosters verbal corn wit bem.z 3n the

About Mb only obvious humor in this script is the front door of the Jot 'en Do n310re. The creaking sound of the Chin ing wooden screen door, the ti nlcle of the s 2311 boll at1m c.11ed to it, and the door closing pro ovide visual

1e entrance or exit of a shear soter-~in this script Grandosnpy Steers, Nou.ey Grey, end Cedric

Wehunt. The fron d or Opening or closing is a trademark (1‘ C: of uLum and.Abner.”

The screen door is important for the ingredient of momentum. In the me tioned episodes of vertsl combat in the script, the opening screen door provides a useful method of plot trans i Mic -. Rather than an argument building up, reaching a peak, and leveling off, the screen door Openirv transition effectively breaks 31 assent at its pe ak as it marks the entrance of Grundrin, Ilous sy, or Cedric. The very dialogue of all characters provides momentum. For

example, the sh ('3 I) P‘ m e ri.1crn in the s. d H rd (1 {.41 O ’j c1- ct- w c1. 3 “’1’. Q 0 D’ 'c v'! 1.... r

(3/: 4 . ’- w .- m "‘.""',.1 - s — .—. 3 .‘ .1- .13: I 1’1"" -- ' 1v”. .- i . *1 o mi". x 1 ’11. - -».‘ . . nrv,‘ \.‘ {‘3 L— n uA' dun“ -- .L. ’4'“ ..R UV1:LI‘M‘ J”: .t\.;.4.. ‘._. --« 1.5(ulig J..-‘\.; I... A?) ..~4J 1 hliull “.1- .3. ‘-‘J.L«~~v 4.3.3: ‘ Liar.“ L 1.3.11. Lu; ‘.5»'. Ul‘...’.;..L . ‘v‘ .

It an ""t m39'33 i lLstcaer 'g ‘ 1“ ", lnLuTGSE. . “'1, ' LHJh ."IM' cgarmgzer 1 ' v.‘ ccula ' W have .

1:136. l! N “- 5t}?! f :1 . :3 3,. w. J 54:13.11 ,3 A _ 3L, Lu» . 1 ﬂ Ulla. 1:90. . '1 .13” ‘ C‘:':_‘3L.:.:.J , _‘_t, ' X a. 53315.05 _ a but t

list:xgr ‘ \ -' lHLCLCD -;- , o h h {I nLguu Q :~‘-. IL naua.,- try a Lwcyogaca. '3 " ‘ g. ,’ 5" 1 \‘ '-' luB 1""._ ‘;HTHGJOHQ " ‘«’ " (‘ rpuwkno f‘; ‘V‘ V'I"1Pﬁ

injecued in tha dialrrue aid Lﬁnénbyn. Charmaior humar, Icymx r, is the kc” to "Lum m‘d

Ahab” A descripticn or =nalysis o- Vais in a complete pHchﬂ—meUVT‘SO maxncr Md reqM re a back in its Mf.

Character humor recuired years to uevelop as a piece of fine art. This Luv”? rm at be here acce:p dfor \.'h.at it

is and adpw cciaued f r that raeﬁon. Che aster humsr is also the key to "Amos 'nﬁ Andy.“ CKLIEL’ IV

.T.”.’T‘ "f $15?"- r‘ T An *7 C‘J‘JDl 'lLsleb‘. - ” 1X1; '0 81“. [h hi! I,

Program L33 s‘t 11: Fifteen minutes I TIL)“

F4“ ““1. I" ' i! {‘17} T‘ 3‘) vhf Saw/:7 [I 51 P:_:C H (V31, "' 7.1: (E, ‘ :‘TIIJI’ 131]“): " "‘ C 'UT‘L T‘W‘T‘ .. '2 HUS I C : '..- :“;'-9: -v ZWQJ-JLI ...- -.-. 1L F012 wow-n ~ ,> 11 mn— III “TA-T 73139 m 1,121 17:37:13 mega

FOR CIC‘?7TT"7I”‘T'T (CO "ohms/3"); {CE-“77.3 I? J’SIC UP ‘1‘»? -- ‘ s-élnoub; -..-aw:- I‘Uf. In

Andy, is you inkin' any progress on those financial

Amos, the only prog110ss Its mahin' is turnin' these

pages filled with red number:. We is in big trouble

Amos. The financial reo01 d of the Fresh Air Taxi Gas

"Company is so full of minus signs in these here

columns that it looks like every page has a ladder on it.

AMOS : Ya...I think I see's what you mean there Andy.

Maybe we oug hca start us in' green ink in that book.

That may ﬂObOQV'll know the differene (3 0

ANDY: Ya, Pm 3. But that won't help our oreo dit none. We've

done 80°C,: a bottom and be en diggin' a hole there

for some time now. You'd think weﬁs drillin' for oil.

AﬁOS Hmmmm. “'lLin‘ for Oil. 33....

45 AHOS

ANDY: Amos, what's cookin' in that head 09 yours?

AI-IOS : ndy, I think I‘ve got a glen that sen get us out of

debt for good and put some green stuff in our pockets.

AIEDX: Hmnmm. Sounds O.K. to me, but this'd better not be

one of yo our wild g ose chss ses, Amos. We've done

een in tloublo enough already.

AI-‘EOS : Andy, you can TQSto “ s-ured that thiso pl m1 will make

the F? osh Air'“:xi Cab (errovy a sideline. We is

goin‘ ta pay a call on our lawyer friend, Algonouin

J. Celheun.

AﬁDY: What's he got to do with this?

ARCS: Andy; we is about to form the Jones and Brown.wei ght

Reduction Company, where we makes dollars out

of pounds!

ANDY: Amos, check and double che kl

HUSIC: TZIaes UP To FUEL To 7v*m SCFUP The: U7n Ai'.D OUT.

AHOS: Down this hallway hea, Andy.

[linDYo . Amos, I sure hepe 5 you lcnows what you is doin'. I'm

beginin' to have doubts about this Mr: le thim . W -. I‘ . K . . w .. 9 La . In? Va.) ﬂ“ O. 1:33;: r“, - Ly I t L. .v‘: 3'111‘31, v a L?,. ‘ ’.J, < {I - :3.l L}, ,‘ 1 1f, q '-. :’ 4" . -3. .'.':,;,J . .. ﬁ- . I o-.L

SOMQthug ...,“ In. ' ._.. M llAG .1 ., .14.. twat .. .- a get.~ stsitod . 4.. ,M :1 i1 ' ... our . new .. ,

‘ .‘n ...... er ”LR-n toxerre. . r51 huL'S ' .I hny we is comlns to see 01;

CsM ' Duo ' ' for ' s as r 13%“; 1r\.' advlCG. ..q-r.

AKDY: Ya, but is you sure he knows about all these legal 0"

matter is, Amos?

‘AMOS: Well, why shouldnat he, And ? He'got you out of trouble in tile ILTadame Queen oes , didn't he? ANDY: Ya,-I guess so. But sometimes I wonder what would

0' nwot‘nod i.f...

AMOS: Never mind thee, Andy, we's hes now.

SCYTHE}: 1.55753 (“‘"P' TIT T‘"C7~7('-T’F*TV.ID; WWW“; of," ('3 Tum?” 0,75 "97:5"? __ w'~.\-”-. —‘ 4—...— -a—w-._ w — '-—‘ u r'T'i‘ inf“): 7?”.1 ‘.fif‘x'fi, '1‘- 7‘ ...... lJ-‘W-Tlln-‘zé 1:51:13’ 3 TIQU..=_ (LBJ-fill) “-J o

AMOS: He's on the phone now, Andy. We'll just sit down

hea and wait. ANDY: O.K.; but you do the tslkin' when he's finished.

CALHOUN:(O£§ mike, on phone) Well, what else can.happen?

’hst? You say they three nod to file suit against

you for fraudulent advertising for two million

dollars? And a suit for false practices for thr;e

million dollars? And a ooutt fine of one million

dollars? And you want to know what to do?

ANDY: (Quietly) Amos, I'm beginin' to like this plan 0’

I yours less and less all the time.

AMOS: Hold on, thes.Andy. This is probably some big

corporation deal Colheun's talkin' about new.

ANDY: Well, if it ain’t, this tolls setter he a out with

nine ives, 'csuse he'll need that many to pay all

that money off. CALIOUZE: ‘ 1.1] on phone) Hell, are you single? I see.

And does this nzzm have em sireiluble is 12111 ‘1: er? Oh,

that‘s too bad. Well, can you swim? Noll, you'd

be ttc r start learnini right away, 'couse you're

gonnsr need to s i_m to some deserted Pacific Island

'til this hing's over...and 1von't call me, I'll

ca 1 you. Good-bye!

ANDY: Amos, I'm leavin'!

AMOS: Now wait a minute, Andy. He’s in this toge her,

you know.

ANDY: Ya, that's what‘s worryin' no. I just hOpes we

can eII ord a re wtost, at least.

CAIHOUH:(A pm hing Amos-Andy micrcphone) iﬂe 1, well, well.

Now what can I do for Mr. Jones ’nd Hr. Brown? I hope you're not in trouble again.

AMOS: Uh, no Calhoun. Andy and me came to see you 'bout

a new corporation we' 8 fixin' to commence with hes,

an' we mnte know 'bout all tm se legal nuattas we'

supposed to be prepared with.

ANDY: Ya...we wants to know all them limit ego tions and

things like that.

CALHOUN:I See. Hell, Lo ys, you have cos 13 to the right place,

because Algonquin J. Calhoun is at your service,

int M.m%. to k9

ANDY: Hell, I don‘t know who this Oriental helper of

yours is, but we n3ess your holy, Calhoui.

ARCS: Yo, CaluouI where is it we st3rt, non?

CAIHOUU:W311, first 0‘ all, I‘ll have to have you incor- *3:

poreted. ANDY: Uh, oh! I know this 1.‘3s gonIie he n33n Amos! I

just kIIew it! I'm leavin'! They is no way I'm

gonna get my hood chOpped off for no new company

that's gonna get us cute debt. It ju. Ist ain't

worth it, 'hat's 311.

ANOS: Now hold on there, and don't go jumpin‘ to confusions.

what is this incor rpo r3tion all about, Calhoun?

ANDY: Y3, Calhoun. This better not hurt 'ceuse I hates

the sight of blood, 'sIecially when it's mine.

ChLJCLu.DOA‘t sorry about a thing, says. There's no pain

involved at all. It's only a lepel process of

corpora te indoctrination

ANDY: I‘s regusted, Amos. Tlis is gettini worse all 0'

the time. First, we gets our heads ut off, then

we goes to see a doctor! Now that don't make much

sense at all!

CALHOUH:P3tience 3nd fortitude, my boys! You are in the

hands of Algonquin.J. Calhoun!

ANDY: Amen! music: .7IDCE 30 1323 333:3, UP 30 FUII Tj‘” U”‘”? RED CUT.

ARCS: Hold the grow fo’ no then hhiy, while I pull this

hoe Jo,ts arid oa~"1 *engnt 1co,cL~’ machine in the

house hse. ANDY: Well, one good thing-«it fits thr *jﬁl tl‘le door O.k.

ARCS: Xe, Aniy. That's because it's meée to help peeple

lose weir 1t who can't rJt ti“~"~h doors like this. Hoe, Andy, help me lift this mechanical wonda ova

hoe by the dining room table. It seems like a

good place.

NDY: Well, it'll make ya think twice 3fore you eats

too much 1.'ith this thing a sterin' at ya. AMOS: Ya. That's the whole idea he hir id our new n=.achine,

Anﬂ . Preventative "eie’t reduoti on. That's why

the Kingfish said it is so old and ugly lookin'.

ANDY: Ye. 1:110 say its ugly. I'd hate to be left slo no

in a dark room with this thing. Elit h that glass

dome and that big metal cabinet with the arms stickin ' out, it looks like one 0' those science

fiction robots hey has in the mo ies . Is you

sure the Kingfish didn't pull somethin' over on

us, Amos? Somehow, I gets the idea him eni

Calhoun knew too much about corporal stations,

patient fees, and weight reducin' frenchfrieses.

AMOS: Oh no, Andy. I'm sure they know'd.wnet they‘s

talkin' 'bout 'cause I checked on 'em myself in

a book tlic hLi‘ sold to me

AIEDY: i'ha t 1:30}: is that Amos? 9 “I?“ : Eh? I can‘t think 08 the ,itle, Andy. It's ova

than on the chair. See for yourself. I' I set

this weight 1"cd1.‘=.cin' machine u; so‘s we can try

it, hes. Ia, this shou_i really start us a new

life, Andy. I cor see our names in the lights now--

"Jones em d Ero:n h’eight Reduction Conzpany,

Incorporated. ﬁecognized Every*szie: e for..."

ANDY:

AMOS:

ANDY: Is this the book the Kingfish sold to you?

ARCS Ya, that's it, And". what's the title

ANDY: It says “Quantunl {lechanics for the PL de rn Times.“

AMOS:. Ya, see the a, An 1y? All ya have ta do is read the

title thee an' wo‘s 0.x. Old Quaotun must've known

what he was talkin' 'bout 'cause lock hos thick th at

book is. Thea must be enoug h room in thea for -him an' all his grandchillin', too. Besides, it's

for the modern times, ain't it?

ANDY : Ya, I guess so. I just hepe this whole thing's all right though, 'cazzse I don't ant no more trouble

like we always seems to have after we see the

Kingfish.

AMOS: No weary, Andy. Now, let's see how this thing

works. The directions hea say ”First, plug in

machine .” O.K., thee. "Now, set dial to amount of weight ta be lost." HLm'. You see that dial, Andy?

ANDY: Nope. Not on the outside anyone; e. 52

V .,, ‘,4' ...- . ' l‘ .3. 'H -_ a - a P; r V!» ~~ ~~~_ ‘.‘L. L‘LJr): .1. , Close). [11.) this CL”. L21". 1.15.. {v (1.511.233 ins/z. J. 8 you {2

(.‘N .l. I» a - ' . ,1“ " .v J m p». .' h) Lit; 3 4.111;.) ILL-.8 8. 11' C. {.63 1.43141:

I] '5"ﬁ".rr\. ANDY: 11 .-..lJ. 0 Boy, it sure

i.s cru11s1 in here, one stuify, too.

That‘s the whole idea in it, Andy. New, stoma up

once. Is. You put your arms in t11ose accordion-

like sleeves with the 51 "es on 'em. Ye. Let me

stand back hoa and look at you, Andy...(LaughS)...

Andy, you almost look ike one o' t1t1ose ro oots when

you moves your arms around like that.

ANDY: Ya...well, t1at's fine, Amos, but I can't see any

up like this.

Amos: Well, go ahead and stoop down and look thee, Andy.

thee somewhere.

ANDY: Hey, Amos: 1105: What's that, Andy?

ANDY: I can't get myself down: I'm stuck standin' up in here: Get me out 0' here, Amos!

AMOS: Hold on, now, Andy: Don't get excited or nothin'!

I'll get you out in no time.

ANDY: That's what I'm afraid of...now go easy Amos, and...

SOUKD: IRWAL Does Ciauplre sane.

Uh-oh...what was that?

AMOS Uh, just my knee hit this ent nee door shut hea,

Aniy. I'll just open it up.

ANDY: Well...got it op on yet? It's gettin' warm in here,

Amos. .\‘ ”,1 A| _" '.D, 3' ’ 0 N. ‘\ ﬂu .-\ .9: —: i ‘0 a, 7" (Gruntw) (.‘11."‘.-)£1 ’ '11 111.4: C l 1' EL CL... f\-r.~(.$. U‘ 83' can‘t get it open. Cos you hear me,

Is, can you hear no?

Ya, Andy. (Yells nervously) Then get me outa here, Amos:

0.K.! O.K.: Andy...heep cool and calm. I'll run

downstairs and see if I can fini some tools ta get

that door open in no time at all. (Off mike)

Don't go away, Andy.

ANDY : Oh, me. Here I's caught in my own weight reﬂuoin' machine. Boy, is 1 hot: Hhew:

I's just glad this machine ain't on: Boy, I'm

hungry. It's about supper time, too. I wish Aaos

would hurry up. onsﬂzos roe? OPE IYG AFD souno or Two UCE?N'S ..

v ...... 1 - 5r

VOIoes 12722015er 5... '1 £119,913; .

u.- .5

' Uh"0h o Somebody's comin'. .I think I can just duck my head a little (grunts) so whoever it is won't see

me inside here. This is embarrassin'.

RUBY: Well, Mama, we certainly got in a good day of MRS. AMOS snooping. JOKES

MAMA: Yes, honey, we sure did...and without that bone-

heaued husband of yours. Why he...

RUBY: Mama...

MAMA: What‘s the matter, honey?...you look like you've

seen a ghost, or is it that no good husband of yours? 5 '2‘» BULY: No, Esme...vhut is, or the is thot?

q. - 7n n I‘lfii'lli: Hell, I oocl’re 1 don‘t know, or :3€.ss yo :1 husoand

took my advice eua turneo hiiself in? :o a broo

closet. I don‘t see Amos .iio e...but he must have left (9 it I I») re nd gone out.

'V 3

MAMA: t4 is U. n, honey, I wouldn't be surprised at any of rt"

the junk that m an of yours night buy.

RUBY: It looks rather frightening, Mama. Almost like one

of those robots from outer Space.

MAMA: Well, if it is, maybe it swallowed up that man of

yours and died from indigestion. I pity the poor

thing if it did. Hnmm. Look at this, honey, a

sw toh *u. O f some kind.

RUBY: Well, it‘s plugged in and it ass a glass done on top. I know! It‘s a surprise gift from An-s! It's

.probably one of those modern lamps! How darli g!

I'll turn on this switch and see.

MAMA: Hmmm. Nothing happened.

RUBY: Maybe it‘s one of those lights that take a while to

warm up. Anyway, I'll go in the kitchen and start supper.

MAMA: O.K., honey. I' ll put these paclm ~. es away.

S CU]! D t A S.IJQEE KISSING SOUED.

PIA I”; : Home. T1; ‘8 funny. Never kne w a lamp to give off

steam like tlat.

IzTr‘r‘T‘ G, T“"““\SEG To 1". p .9 IOIID 1.: u h a“..- ‘.r. -—- 4—. A ..‘- “My.“ q” N." {‘9 T 'o’ --..-'- (_‘ -1. 1.. ‘ .. 2, 2 nxl ‘4‘: numa. 30 .3 Quin; for sure.

{-13.

C 77"? . Pr“ 1“?) (‘33 [2?" (NT CHI?“ {.2732'32 1‘21‘2'\'\f‘12'7'u’!’f‘. T 7.73" juT R '1 TTTjrj. ,201 :\ " "H L230" I ‘_'|_‘_ .2 l — c . _. , M ﬁ—H._-::J..umc .m-‘A.u-—Mv-a __v ...}.r‘ ~g-‘.-.——.~o-:—~.-.Nu‘-.‘p ..v-‘—‘-..-w-v..—_—- #4.;- ——1‘ "- on... tum-.- mw 21T1" mp wwm :r mﬁ. .~W.. ...-.4 .‘t— ..r 10—-

11.911331 l P! F : Heney, this tn.mg's a goin' 01c :sy and...A HAN!!!

Aauft‘mznuv2 22.}. {321: x:

v ' ' - f- ‘v- .v I 7 ’ T {P 2 SGUITD: T '33 P3316. F aux-so r33 35.8 ”3“?

BUN}? .:G '37.?) N TESFIIICG .‘T‘TICOI '- .‘3 3.33.7.3}?! If); ‘-7-733. “I -" '..-l.‘_- "‘..-“‘5’ RUBY: (Off mike) Mama...uhat's the matter (On mike)

I-lAI-IA! ! I A HAL}! I I An: AAA“ IAGil IEIIIHE'H I 1

SUITE-ET): A TTC‘” ‘ 03-" 'S 37.20327 33.321.313.333 .0 THE FIGCB, PMC3313331)

(301.7357) COIETTI‘IT'T‘S, V103,??? E‘II’TQFTTI-TG CBCEYTE 0F I‘IT‘ITA];

QOORL_ T-DLID “"‘H v‘-“- ANDY: OHHI'H! I ! gown: SOLE-TD 037‘ 137330.01 I'W ‘S 3001'." I“T LIIIG Ta") F1003, HECTV’I'”

33:13 OT-TIX SLIGT‘E‘ HIS-ZS. v,'r~'ri 9.! .

AMOS: (Off mike) I'm a comin', Anﬂy...1'm a comin'...

(On mike) Here I am and...H0neyl...NamaI...Andyl...

Ow Nah! Ow Nah! 0w Nah!

33.333203 501:0" 3321.13.33 up TO FULL; TF1“, MUSIC: PAUL 1:: "331-173 ‘...-.

UI‘ -3713? F0.' 3 Cm” F -CI (60 N‘N‘Vl" bClO-SIIIG, THEN

TH 513E. UP AGg-XIl-I TO 03.0.3? OI“ SHOE-J.

(gnu-V1» ' [We-"1111'!“ ’1 r_.‘ t H 1 ,1 ,1-3 , ,, ...-...— v-.;. ~_.--~ v; . v .-'.uu«..Ls-ru-

As Chester Leueh 3ndI :1is CDIf ~ ure.msd a up “L1:

and Aener, " Freeren Cesdc:e and Ch111: CC=113 ll contrived

."Amos 'n' Andy.“ They 33‘ on Au:¢ st 12, 1919, in Durham,

North Carolina, where Charles Correll was staging a musical

for the Fraternal Order of Tegles. F~3emen Gosden, who

worked for a talent as enc y at t11e time, was called in to

help Correll. Both having Southern backgrounds, they then

worked to gether up the ladder of sue 335 to "Amos 'n' Andy.”

They woi‘k3d at WEB.{, Chicago, doing a program of songs. In

November, 1925, th3y terted at HON, Chiee go, announcing,

singing, playing the piano, tellins Jokes, and writing and

delivering sketeire . In Jenzery, 19’6, t’1ey went on the air

as two Neg we cor1edy characters they developed, "Sam 'n‘ Henry."

With the program's success Chicago's NMAQ Radio gave Gosden

and Corrella better offer t11en,\JGN. However, WGN owned all

rights to the names, ”Sam 'n' Henry." They changed the

character names and made their move. The first bros W13 't of "Amos 'n' Andy" came on March 19, 1928. Gee de:1 and Correll did everything. The y played not only Lagos and Ans-.13; but e1ery other character, male or female. They wrote th.ei r own scripts, supplied their own sovnd em“ects, tired their osnufhows, and probably even emptied their own wastehaskets.

Their success on WMAQ led to their eventually being hired by

the National Broadcasting Company for their first network

broadcast on August 19, 1929.

“'1 Hermon , QC‘C'IEJSXL: : P ' 8 1 ° Is no! out . ... was . J.t‘ moi.“ .._.- ,_ ill. ~ 1‘04,” L. €.;-:..‘Zv-.'”.‘r.1.l.:.u;...<: ..,_, ,~ -. .I. series, . .3 _ sponsor . ‘.. ‘,-,. until 1.. 193?. «r rm Lees, 5... a Sponsor , , . oman~e 3...... 4. to Le 1...... :Lel -- l souxs _ with , .L.’ a theme song Q change . —. ».--- ire? " . “inc SF“ lerfoct '.1- --.~ - Son3' . -'l to “Angel's "L c Sercn s50,“ -eried the series to 19%}.

The series was :n 35% nights a week for a time, then £13.33, Yil‘f’t at 11 8.11., 6.113. finally at an curlior hour, ' P.H. {testers Tire) so that the whole family coul} hear it. And uhol: fo-ilies list-32d, meny families. The Show Led torty-two million listeners when there ucrfmjvst over one hundred rillion people in the nettcn.“ In 1943 they eXpsnded to a weekly half-hour show for Binso Soap Flakes, then Box ell Drug Stor . Finally, Amos,

Andy, and the Kinetish made their lest rLdio program change “...-('3‘ to playing populLr records and discussing events of the day on "The .nos “n! Andy Eusic Hall." Thanksgiving, 1960, on 0.3.8., marked the end of Amos a lid Pndy on radio, due to a policy chsn3e against Wimotised radio programs.43

Long-developed chq rector hLzL:r is the main inm Mai ent of humor in."Amos ‘n' Andy." Loyal fa ns could almost predict what each character might do or say in any circum- stance in the plot. At least some fans $333333 they could, but part of the fun in listening was to see if one's pre- dictions were correct. For example, listeners probably anxiously predicted whet Andy would do or say, or what would happen to him in the Madame Queen series. However, the clever comedy writers always held the key to a program's or a series' outcome.

“21b5a,, p, 82. “at...

”321* .;.;a..\ .. O , o1.4 . 83. 1 Li. -‘ ,‘a w. : ‘- 1 “arias; P ' ’ ' ‘11- ‘A H not. A ‘ -j%‘;‘ - ‘ ~-'“r'pi~.~j:':.....-, .' ' .'.v -"1 "‘ “visit,n.1,: 5‘ ‘~ '-' ~'- '3" used ' . ml '1 tecnnicues 1 ‘ . v ,a o; n ‘thsr ‘ . o-,- .v r at One a' 5;" timd ..- "s“! or shotncr, .' a‘ 4-10. '. LhC . Lager «A . z‘ iereu;I. -'I ' ‘0‘ .0 :.

.. «to u: :x .. in "1.3: C' (1 ... $4 vy" qr‘ap - .yr‘ﬁl" c: 4- ' I‘\'-\ (aﬁ‘r " n“ " Mir? C11» L) {Mal/0. ‘..;A- 1.4.1.0 L‘ .14. J...“ U C...L .4 (JCHQLI. AC U gnu, ..°.-‘4.ll 13.3.1.0.21» tum,

Statement 0 0 truth, momentum, exe‘

Character humor, as in “Lum and Abner," is strictly inherent and was written in the script only from a basic understanding of Amos and Andy. Other elements of humor may be in this script but are not significant enough to warrant discussion.

Complicution, a trademark of "Amos 'n' Andy," is second in impoztence to character humor in this script. The two men almost always make their lives more difficult the- they should be, but this fact makes them human and humorous.

We latgh at them because we all sometises nuke our lives more complicated than necesser*. The entire script is a x 0' .1 :7) t» C) l.) (‘0 O

complication: H (‘ Ahoy need money, but rather then earn it in honest hard work in their Fresh Air Taxi Cab

Company, they follow Amos's idea of.a chance to get an easy buck by starting an entirely new company. Anyone knows that_ starting a new company not only without capital but also with a large existing debt is economic suicide. But the easy way out blinds both Amos and.Andy. They get deeper in trouble when Calhoun and the Kingfish team up to make some money themselves on the two suckers. Things get more complicated when Amos and Andy fell for the Calhoun-Kingfish scheme. The final complication comes when Andy gets stuck in the weight r ducing machine, and Amos finds out he has three unconscious people in his house and a weight re .1 ., .,- v.5,- Cb uc-ng Lochine lalluyo.

ConiuciLninn is another characteristic of Amos and Andy, especial ily inf”. First, Andy gets confused in the visit to Calhoun’s office. He does not understand the legal talk, and his coi,corent mis tidcrstcriinc lions to fear of taking part in the new compa :ny. His misund zL1 qding of incorporated, for example, is innocent but funny. Amos is

just as confused about everything invol'cd in the new company but won’t sd.it it, since it was all his idea in he first place. Andy is confused because Amos denies he is confused, wh on he rc ally is Andy kn ws it but can never seem to prove it. Unfortunately, Andy's confusion leads him to ,e the goat of the script, mi, he gets stuck in

'2‘) the weight reducing machine.

The innocent statements of truth, which are sometimes understLa z'ents of tru n, are also sources of humor.

For example, Andy remarks that the pages of his financial records appear to have ladders on them. Or, Andy deduces that it does not make sense to see a doctor after one literally loses his head. In this script, in fact, Andy's deductions are usually right, and Amos‘s decisions are usually wrong. True to character humor, however, Andy in the end suffers for it.

The log icel dialogue momentum carries audience interest in this so cript. The conversations, as in “Lum and Abner,“ reveal essential plot ir formation. For example, in the first conversation of Arnos and Andy one learns that there o . is. J' a pioolcu ..—'~ 1‘; A".\" and ~ ’-—.‘ there '1.‘ ,- - is0‘. ,- a q‘ q-,proposed r - ‘ ‘N 31 solution. ‘ ~31“ ... _ n ibis .' I’ ‘

onecessarily 1 - ‘.. w cores - r‘ very ~ -,~ early ' in-. - the ~1' Sﬂilpb, “r; - ‘ so tie 1 udir ace

knows where the show is and .shc1e it is going. F13" 111e re-

dining convbiJJClUMN 110:! the piobler: 1’s dcvelonnent and

eventual solvr101. Music: 1 brzLdg as or movements from place to place by ,hai acters between bridges, provide

traisiticns that also aid momentum. -

"eggeratiou is also a set rce of humor in the script. For example, Calhoun's telephone escri ption of a clientas

economic despair is a bit far~fctched. Or, when Kama sees

the ugly machine in t‘e living room, s11 mlcpcs that it

swallowed Amos and died from indigestion.

u th a we ight reducin machine attraction, the obvious is certainly a source of humor. Andy‘s description

of the reciive 81:1 his work done to start it, repare the

audience for the inevitable climax when Ruby turns on the

machine. The hissing sound of steam esca Mng, 1W1 oh ac com-

panying comments and screams by Mama, Ruby, Andy, and Amos,

all provide a visual image of obvious humor. .The audio in

radio often paint- ed pictures for the listeners to overcome

radio's lack of video. For example, Andy's lines ascribe

and help tr e listener visualize the strange weight reducing

machine. Similarly, as in the machine's his sing, spund gife ts a so help overcome radio's blindness.

I In the first line of the following script, Edgar

Bergen's comment about Charlie b-e ing dres edi up aprovides a

visual image cue for the humor that follows in the script. CIL'XPTER V

CONEDX VARIETY - "THE EDGAR “ERGEN AND

CHARLIE MCCARTHY SHOW"

Pro gram Lang m1: Thirty minutes

MUSIC: OF? T‘? T”E T UP TO Pb LL THEN TKDER FOR ANNOUNCE? WHQ_ 1"”"1077N‘" 11*! MD GUitl‘JTS, THE-7715?. UP THEE: UIIDER FOR

COINETCIﬂL (60 SS -.Ond S) THEN:

EDGAR: Well, Charlie, I see you're dressed very well,

tony gilt. ’Is there some Specie reeson?

CHARLIE: Ana why not, Bergy old boy? Don't you knew who's

00min “his evening?

EDGAR: well, w. G. Fields will be he'e...

CHARLIE: Uhy, I m-Houldn t consji1er him 8. gues ,Berge.... 336A}: Ye: wouldn't, Charlie?

CHARLIE: Ne...quite frankly, he's a pert in quest of a

bartender' S 13628 t! BUG 3 K0” Charli0.ooyeu Shoulﬁn‘t say things like that about Hr. Fields. He‘s one of our gvests tonight

T IT‘TT l' C' ' ”-1,. C116 ‘.‘ﬁ-JgL LJ: Ql,i’;1. o o blpuiu: T‘ {W 1' I wny, '1. ‘ WJJL'S .-".\ ’ 1‘ hue “1 mitter, I _ ‘ , Cud?lIC? 1“ '_ _o Do yen ‘ 1681 45 ‘ 111? o C:\ ‘..; 62

no, but if Mae West eeuld be my nurse,

were.

Why, Cherlie...you den't mean to say that you‘ve

fallen for Miss Nest, do you?

CHARLIE: Yes, Bergen, I'm just a helpless victim of love.

EDGAR: Well, Charlie, Miss West will be here shortly.

CHARLIE: Bergen, I think I'm a little nervous. Do you think

Mae West will like me? I mean, really?

EDGAR: How could she get like you, Charlie?

CHARLIE: You're right, Bergen. I know she‘ll like me. Why, Bergen, I'll just remember my old motto,

"When in love, go Nest, young man!"

E GAR: Yes... ‘

CHARLIE: Why, Bergen, I feel better already.

EDGAR : Of course, Charlie. Everything will Ce just fine.

CHARLIE : Yes, Bergen, I'm beginning to see the sunshine...

BAY NOBLE:Did someone call?

CHARLIE: Well, it sure get cloudy in a hurry. Drafty, too.

EDGAR: Oh, Bay...Cherlie and I were discussing Miss Mae West, who will be here soon. I'm afraid Charlie

is a bit nervous.

NOBLE: Oh, really? Well, I don't See what you're so

nervous about, Charlie my boy. Mae West is just

a human being.

CHARLIE: K3, but all that human being in Nee West is what

I'm so crazy about! to me!

Ax) ‘T‘ {11:41. L131: What? Why, I couldn't insult hgigz

New, Charlie Bay is only tryii ng to help you

relax when you talk with ﬂee West.

01 course, Charlie. It‘s all in the mind.

Not when Hue West is around.

Charlie, you see, just be a gentlemen and every-

thing will be all right.

Yes, Charlie. Would you like me to stand by your

side when Miss West arrives?

CHI.BLIE: Vou'd better not! Why, I'll clip ye! So help me,

I'll mow ya down!

MUSIC: 3 '3 IE". CT; QT? BY I? ...Y I I O .I T If”. f. .IT ‘1‘ '3'f; If) " 01-5.“ 1“» ”WHOM. H.313. (.9, WII’HItC‘ ° 1) ,

‘I connERCIIL (60 secondS).

NQBTIKWH 0 use Turn 'uvrj'ovt MUSIC: up TO FUIL .hJ—A' J. urngg.

EDGAR: Well, Mortimer Snerd! And how does this day find

you feeling?

NORT IIm mR :Well, I'll tell ye...uh...up ta now it hasn't

asked me.

No, no, Mortimer. I'm asking how you are. I just

Said it in a different way.

I‘r’IOR’Y‘C KER : Ch...ye...well you could o' fooled me: But that‘s

true no as ye say it. T‘T‘ :5 f‘ 3:) 1111) \i'» on) : hertiner, youull just sueh

f . “a. o .W‘Bll ’ uh...uh... whats. “Livia; . What‘s the matter?

MOETIMER: Well, I've had t3 get used te flies and bed bugs

but never any 0' those things:

EDS-fill : Oh, but Mortimer! 'Colloquislisms er simply ways

people who live in certain areas say things.

MORTIEER: Ya...well, where I o me from, a fly's a fly and a

bed bug's a bed bug.

EDGlﬂil : Well, of course. We all have

idiosyncrasies.

Oh...we do, huh?

Of course.

Even me?

EDGAB. : Even you, Mortimer.

MORTIMER: Well...uh...I guess I'll just have ts buy a new

k nd of bug Spray for those things. I never heard

of 'em before, let alone see 'em.

EDGAR: Oh, Mortimer! You see, idiosyncrasies are

characteristic peculiarities.

MORTIMER:

EDGAR:

MORTIMER: And everybody's got ‘em?

Certainly.

.' 1.. .-«I J ...-'Crt-LJ o c o C\ \n

I-iORTI lul'li :

EDGfﬁi : uh: is it, hortiner? You leek rather sad.

Mell...uh...l thOU{;ht I hud cn,. 5h trouble with

flies and be d Inig . Didn't realize they had

friends everywhere.

EDGAR : Oh, Mortimer, never mind. Tell me, how have you

been this past week?

MORE? I I‘IEER : Oh...I‘VO been, uh”.ulit....I".'€:...Lﬂ’l...hmma coo

let's see now...uh...what was it you asked?

EDGAR: How have you been this past week?

IIORTII LIZ-h: Oh, ya! I've be en just fine, just fi-e, thank you.

Well good. You heren't been sic ck at home?

MORTIMER: Nope, no.., nope. Just me at home, nobody else.

Yep...elmost always me.

EDGAR: Then you haven't missed any so heel?

MORTIRER: None, nepe, nepe. I don't miss it at all,... (leuchs) especially in the summer.

EDGAR: No, Mortimer. I mean have you been

school?

MORTIMER: Uell...uh...let's see now. Come ta think of it,

I was last week.

EDGAR: You were?

MORTIMER: villy , Era. Don't ya trust me?

EDGAR: No, no, Mortimer...why were you absent?

MOP iTIhfZR: Why was I absent?

"_‘.C' EDGAR: vu’ KortimCr, why? You weren't playing hooky,

were you?

cf , . ._-_,- .. __ 3., ‘l. N '7' _ .-., 11C )ll‘l‘ Ilia-0:1. . “iibr’ O... COL-Lisa“: Il‘I.) ll. 1 (J ILL)“: 33:; Iml. L’Ll.‘.sal..

A 1“ (w . 1 _ . _ '_ ' . f ‘ -

EDGm’ .«J hut-11 DO you L54“; tithiflt .

I Y ' '..‘TL’ 0 ?.' ‘ ‘ . I T‘ I,\'.:1 t I O, I ‘ Gﬂ‘xuet‘.r“eu?, Enju.}ie YRJS lslIl 9. \ae lzirwi 0'

rosr t3 1 $4.21). 0

liheu - 1, '.v our names ‘.. t1:e 1 ray ,. . they ‘. - here, r. ya see.

13931.11: ho, Io»ti*or I mean you were absent without 13 are!

I-IORTII IE I: Leif who?

EDGi IR. ° You!

1W0 TIRER: No...(1aughs)...1'm s ortimer: I don't know this Leif fella anyway, so I guess we left without him

all right.

Then what did you end Elincr d.o the day you were

absent from school?

MOiTlth: Ya won't to ll nobody, will ya?

EDGAR: Of course not.

I OIILTIXSI. Cross 3our e3 es 'ulcl Lope ta squint?

EDGAR: If you say so, Mortimer.

M HTIMER: Well, me and Elmer went fishin'.

EDGAR: I see. And did you catch anythin ?

II R‘III"”I: Boy, I'll say we caught it when we showed up for

school the next day!

Well, then, Mortimer, I guess you leer ned yew

lest son then

none, nope. He and Elmer both missed our

“on that ds y 'caus e we were absent.

Nortimer, I just can't believe how stupid you are!

‘ell, everybody else can, so I can't see why you

should be any different: . .. - ‘ , . -...... - .._.- .‘ ...” . ... ., -.. ., --. -, ‘. ~r ._,. , ‘.. ‘.,_ ._....I..‘ 7'11‘1'T(‘0 [V—Y.‘ \_-;__ ..\ .'} f‘ l. I“ ‘... , ..I‘. ,.I:‘f‘\ ‘5’}. .-T In I .I;‘I‘{"; ; 1.2.1 ’... "‘ | V'J :’- - .. . .: ‘ ~ I '- . '.--' u‘ ., ---' I‘ [‘4 I" II. . .. .-‘. I‘ .’ . 0 -:.l' 'l‘.‘.» .... .nol -n-Q-~~—-c~ -- ‘C‘C‘O‘ -l0' u‘ O'.~ H' .. p' "—n‘.‘ oy“—- —l C~".".-r~‘ I -~-...qu "."'.5 Inc ‘a '9 —'. .. f.-"-l v IA'M-Ir 1" ‘.-.o.. W'- 4‘—.‘ WW. ‘mtV'v ”I

[UNA *‘I'rI‘ \a‘ oh‘rVWr-r‘ ‘.P ~ I ~ | ‘ I) IN. I I ~J ("I - . I I. ‘.. ﬂ Y" I - . Y!‘;'.""""" r ‘ , ~ \ D. ‘ gnu-.I-‘m-Aﬁ- lc‘D-‘JnA- ‘I.~---* ‘..»...“w- aqua-.- .-.-v - manna.-.“

EDSLﬂ: hell, -htr; e Are you still 1e:*ous about

r j .3 . '"f' l (. z; L‘i

a 7'5“? " .- ‘...,‘. .. . ,..,~, Chaflllfi:/’OH, L:x;j. I fltflfit know if.9. I 0&1 - s ‘ 321d ‘ the DU”.-J ' G. EDGAR: Well, Charlie, just try to be calm. Hr. Fields

should to here very sh r'3ly, too,: on in=ou.

Cdsdlllz Well, that certainly puﬂs a de:noer on th e whole

'“Mann. ' '1‘: 130.3” ,. V.'I'-...‘l.t". ':- I 13:21.11» ..._ .1. jug. ...“; if) . L": ., _ 1’1 .. 03 .30 1131‘. 5181-35. ‘h W..

CY}: T .A --\, 1 .1" ‘ ‘0‘. r1. '- ‘:,.,--_ ...I J. ’p‘ ..g, I',.‘«‘. 11‘ (a (:31 .. a J.',, ‘. 1.11.5725?) ‘I .. l/ . - ."3"'\' "'3'“ .LA -'-' —-~-‘ 9 .~ I ‘-.. ‘ws -‘¢- .- \..‘ :4 I" tor Lu. W \J .‘a l. , l- \4‘ .1 -' J-- \V d. LJ‘I-P'nL-‘c .

DDS “R: l”W1Li§ DRZWL.€...I”J you ounﬁt.

/ ,/ Ci II’IIg'LIIllE: -. TI;I1.'.2,(;=.}.:.?31. , “13:120.: ‘ 3 .

EDGAR: Listen, ”Wurlle...l taink I hear someone coming not.

CHARLIE:' Oh, Lerfen! GEL it t3...oun it be...? Well, I

6 .- 333 ..“not, .5. bLSmUDG -‘,-- . .-, .L.‘ tnere‘s -. . . ,. altner ' . .. a flre D... . englne ‘

c g0 mlné \. ‘ srtund Q r' --.-..- the Lorne~ o-A 0 wItn .‘ﬁ1 Its‘L llesher n x on, or

CHARLIE:( I‘ll teke the fire engine any day. At least when

1 the fire‘s out, it’s not lit u3. I l FIEIDS: Quiet, young men, or I'll have you atteo ed by a

herd of howline bells.

f 1' T “I"! 'I . ..., . CiL'xfi4JlLa: [\Ibucr 3611. o a

T\I‘ '.. . 3‘-.. ’..... 4 _‘ I? “‘1 ..l ‘ Y‘ t .Y F‘ , ..‘_3_ J“ , ,_ : z ‘

JUUo311 o C‘.‘..'..j-J..j_ .fo I C a ozﬁ"'J.—LU ’ £311 0 1*.L'Cn R. 3 1'7“ ‘..)ng U 1’1)! ,l(‘ 1.11 1.13 fx.’ ( (a

if. "Yﬁ 9 J—ld-Lv. '- Why this}. m, 1 :5; De: rmi :23" I do.

v, ‘- ‘.‘YW’W c “ '4'. 1‘31 ’1.‘.JJ_J—~. ion diCi‘t ask me.

he“, Ch.zlie, n> n19“

‘.hv th" little chip r: nt no helm, Iz-er zen,

I‘m Sire.

EDGAR: Why, of ccurse not, Kr. Fields. Xou see, Che mli

really sv‘lree you.

lie. ‘2 not there

Yes, of course, Berge . I can see that very well.

Why, I'm rather fond of the little nipper myself.

Reminds me of a fence post I orice bed. Broke my

heart though when a mastodon of gigm iti.o propor-

tions crushee it into ting Splinters. I used them

for toothpicvs.

CHARLIE://Why...l‘ll bet you saw e wit: elephant, you

overgrown olive. u \ FIELDSz' No, my little wooden friend. He was fuchsia, as

a matter of fact. with gleamiig red eyes and a

long snout. t—i

CH9 pv I [‘3 v—s ~Not as long as yours, I'll bet.

FIELDS: Why you little termite snack, I‘ll make chopsticks

out of you!

EDG.§R: Now, now. Charlie, you are, logize to Mr. Fields.

CHAR LIE: /’ Oh, e.ll ri3h . Mr. Fielﬂs, I aidn't meen that you f \ have a lon3 nose...

EWD NR: That‘s better.

Cﬁ‘rLR 1.31 .153: But it‘s as red as a big ripe tomato! "T!1* huge.) wwv w 1“ . VT} 1.31:... : .3. 3. (.0 (J.T..=':.S .‘1-._..~ 5.. .3» et- ' .L’‘- “x.- — ~_-; ' ‘new. -. w. '7 {and ~ - ~ «...-w2.31 ' OD. ...«L L. 0:. 4" you} w“. ‘

..;'-.C2 .: " , .9 .. 1, 1.. ,a J- ‘ L . .m , Cl; VHLECC’) ..L‘TJ 111327. Jilii' '../7.2.3.: :y'C l1 " ..Jei‘l 11' 'u bCC-ﬂ. C21;

' _ ,‘ T‘ :"v N w :wy . 7 Y '~ I " 1H r' J- 9' n4- A~ p c‘ s. (x, it i ‘7 ‘l hi1) 1.1 L’ \‘, 01.3.: V L: (I‘LL-’11“? , CZlL-arli 'x/ O fulﬁl-(.3. ‘Or 0 }‘ EC 1.7.2.3 I‘ E’QL‘UI"*‘ ‘5' 136": 1.031,. D

is a C2e t on our show. 1" iou s‘.1ould be ashamed

of yourself.

CUAJIIM:\\\oll, he askea for it.

BERGEN: Charlie, you'll be sorry some day.

EUSIQ:_ 1???T;:}C~EiI---?Ti"‘2?[ 150133.123 £5.11") III 3‘)“ ODCW‘BT.” , Tit-{EN 0033717113—

r~ " ' / . (‘ ‘. n I". '3‘. , '2 , r" 2 CI..1) ()0 ik‘ri'xu‘tuﬂj'JL') .

CHART”E: 0h, Bergy, all this s Sperm e waiting for Lee West

is melci in3 me dro . Eergy? where are you?

’ergy?! Don't le:3ve me here alone at a time like

this! Wait a minute. What am I saying? This is

great! He alone and Mae West will be here! Sign!

on, no. I'm getting so very tired from all this

wpe tee and waiting. I...think...l'll...just...

take...a little...nep...while...I'm...(yawn)...

‘Taitingooosighoooo

I-‘IU‘SIC: P4332133 NU .._.lT7ﬂ7‘, F9U.C‘.-JI‘JD BY 53717:“.‘3 C7“ T315133:

CHARLIE: Ohhh...whore am I? Oh.d1....

I-IUSIC: 1.73:??? I-‘EIJ‘..3..§ AND '2.=.'ES'P.‘:?T:€TI 0‘"?ij 8011 IT‘S.

————— CHARLIE: Who? liners am I? Ch...

TWINC: Hello, there, I say hello!

CHAR IE: NiaW'K Who are you?

f, n n ‘.‘v ,9 a - I‘m '3 T) (7‘..._,° A , Q 9 EC‘I‘iI .1 $.15 . .. r‘ ' 4- -. ‘ I (”7.1 L‘ﬁ‘L‘CJJ. l . 'Li'J‘I‘g, L. s .x 0). MIL.) nag-(.311 vl -.‘ s

at your service.

"' J T V". 10 .- "h CAI ”1.11: 11.1 . nigh Loos City:

T137 I KG : That‘s rieht. I don.°t IHIIIWP l h:ou your here or q.‘ where you came from, but you‘ve been asleep on

your horse here for over an hour now.

CHARLIE : Huh? Oh, ya. So I em...or have been.

\ Hey I as}: Who you are anu Him tycur business is

here?

CHAR LI L: Well, gee, I don't know. Last thing I remember,

I was waiting for...wowee£

TxllIJWG I beg your pardon, mister?

CHﬁRLIE: Who is t1 gorgeous gel just get ing off that

stage coach over there?

Iﬁlllﬂ Why, that‘s the Rosebud of

CHARLIE: What a 3&1!

THING: I woulan't get too interested, my friend, if

you value your life.

CHAR LI E : Why‘s that, sheriff?

H INC 3 Well, you see, Miss Mae is the girlfriend of

Twelve Shot Bill, the meanest outla w in th e West.

CHAR LI E : Twelve Shot Bill, eh? Sounds like he's not too

good :ith his six shooters with that name.

TN II‘IG: No, sir. It takes him twelve shots in the saloon

to que nch his thirst. That's all it takes before

his Showdowns at hi3h noon, too.

o-SmfluufluOnflb?(‘ "- r.-. '1 1.?! I Twins: TH CfLrlptLl-E. CONBOY: CHARLIE: COWBOY: CHARLIE: CIU‘BLI CHARLIE:

(311118131 i t?

‘IH I H NC: H4 at “1.1. : O 0 h 7‘ Q : Higflil What? Ya...what? Say, Sorry, What's I Sounds horse? Nobody Is, Get about periner, place High like Chet. .L‘lli. long, him by in lived street ten say .1“; h3fi 8 nor jail? F: but in sheriff. I‘m Noon J1 u'.) how oon xed.up I this this to And I has that, like ‘ I.‘ By and at Coal; 8. (Tl-.‘(z _. Why who's got noon .pLI‘... '3 don't all how r tell Lilf'i Z. figs- about City. ' high City the one. lose is. 2....“ fight " U. ('0 T‘fi‘u-1.Ir"':‘5 Lose a a am 'VGI' with sonny? about set today. real gonna little way about units; Why need I noon. .:n a Hmmm. my else a his...So I'll Ugh...whew! here, to him? 0 r hand?! h why in don't helpin' friendly job? ti.‘ g IXLJJLO any msko .v. f" So it. \«J $3653 n P. {4}. E115?) I have c do 1 . Wonder Mae too? , help hiss NO you th t3 long, to and me ey outlaw thal’lks SOI‘EB put 133C3.-(3 Oh today. \ R warn Being how off t. call you'll sheriff. well. 0 o this n 10 I, I this 0 Well, Hat the :ront this up out this got So outlaw find 3 Triple horse Hey, there in bgots’ long. on town Twelve looks OL Strange out + this ? SO A I ‘I '. ' O _ ’ . ‘J ‘ '4!“ ‘ r“ a- 3" (a :«s’; (11' ' 'x '3 ' f H s. . n bfi‘vlJ. .-.J (.3 .3 U , ‘V\.-.t\ ‘1’ final- ’ L.4'.J.~.L o o o N L.» 3.. t a). 1111.11L’5'v\‘ .

.‘u L . .. .- n- .-: .1- - . . n1» ... -lr‘ ‘ \JJLCLU 5:"?! I b.0111: 14.1.1.“ 31:33: C’. W -.‘JC‘JI" Lilifooolooo

WSo‘ T: Hello, swell, cute, and cuddly! CHARLIE: W-wnwhat? Who, is? WEST: Ya, big :ey. Inuuﬁ53yoursame?

EARLIE: I—I—I'm ..I mean hosiee ma‘am! I'm Charlie ’ 9 9 McCarthy, Miss Mae!

WEST: Well, a big he llo...Chuck.

CHARLIE: A Chuck? h, ya...Ghuok...(SighS)... WEST: I saw you got rid of the sh- riff so we can talk.

CHARLIE: I did? .Oh, ya, ya: thy, you bet I did, hiss Nee! hEST: Say, Chuck...

WEST: Come a little closer...

CHARLIE: Y—y-yes, Miss has?

WEST: You can call me...nosie.

CHARLIE: hhhh...O.K.,...Rosie1

NEST: Ya. It's got a little more...personal tone to

it, don't you think?

CHARLIE: Ya...

WEST: LiS'en, Chucl. Why don't we go in the Saloon and...

talk a little CHARLIE: Anything you say...Rosie...(Sigh)...

I'lUiiIC: S’IQI‘H'III ZILWIIC I' D C'IO" '~ .i".._'.I"‘IIQ>’.}PEIFI’-333‘. UP. -~-- .4

CHAFIJI L“ : Jay I buy you a drink, Rosie?

WEST: Don't mind if I do, 13 boy.l I'll just stroll on

over to that back table tuCPv...c‘1 wait for you...

Chuck. J. 02.23.39 I'll .‘I 3.31:3 . .

‘ 31-14331" 1

hdébﬂmilaﬂlb.ockluj 11. ,‘3. I.,,. ..5

Hell, I ain’t talkin' to your shone», em I?

Uh, no sir, no sir. Uh, 1'11 hsave a chocola*e

melted with two straws,

Sorry, kid. we onl y got

Whisks y, eh? O.K., gimme a whiskey with two

straws. Say bartender, does Twelve Shot Bill

come around he re very often?

AIRS CHE: Ya. He's due in any time now. And he's been

in a bad mood lately

CHARLIE: Oh, I see. How much do I owe you?

Twelve bucks.

CHARIJIW Twelve bucks! Why, that's robbery! I demand a

bill.

[XI-3E CHE : O.K., kid. Here it is: Two bucks for the drink,

eight bucks for the straws, and two bucks for the

information.

CHARLIE : Is. I think I‘ll go easy on the straws and

questi011s no; t time Here's your money. Hmmm.

Now where Rosie? Ah, there she is back there.

Oh, my darling,

Oh, my darling Ros ie dear.

I have brought you a little whiskey,

And two strut-:8 to hr ing us Che r! WEST: WEST: wEsT: WEST: CHARLIE: CPMA CHABIJEA CHARLIE: CHARLIE: CHARLIE: F U? m EU *‘J t“ . C 1

ta ‘J o o Rosie, You ‘why, Sigh! Just Why, Now, Yes, Oh, Ia...here Good, Say, High No. You T‘at's Now, you ya, Strong eyes PU.J.1 Here that 305'... job. r-xjysa ‘1 moan...your ya. to if look 0) Rosie? Noon sure the ever up I I listen, of we Chuck... then...Here's ’ Chuck. ‘i I'm be you mean can and the C} a-IKIXQJJX yours, Ci are, p two like 1 we I my rode City Cvﬁuil“ a" the way poxerful. see think . am. the r‘\ . personal are, of Chuck. my I .he toughest, you today. I it into ..Lﬂ’l...]’10W'd bodyguard? us 11161 thoug (ind. door. 0' you like Rosie...ju in breve, 'f“ like what handsome High I195) I've can those t or...Jus guard it, “ G you you thi meanest, Noon handle hold, t... got Chuck. ‘ ‘, 3 big 3 .st b were while have you wrangler ..- t a City! bJ.g and bold the the ...- Imow? a lit Ky to bravest I‘m reel right daring two tle do. kind beautiful here he-man's of job of I kind. us. cowboy type. want for in man. 75

~:J:l' 9:.)_L . la, 315 falla. btay 313:3 3n1 M33; D? co; ‘ny.

Cunnilulu: ~vq-. ~w-r\ Oliilllil! -....-.~-,‘ ‘nxld‘b . 8. 11.1.6! .9 h rah-"1.1. - a 11f?! :.

\H‘" “32») 31,....~31!V‘ g3t t3 k33p t_is a secret

‘3"‘3’3 .5» T" ! "‘."Tf‘ ".55 bk; L'I\/C'l’l 3 \JL‘. kale-JR 1L -4 .

2* *3 1r is it, Rosie? Xou can trust old

foith.iul Charlie, 3r Chuck.

rpc ‘AJLJ Chuck, I'm carryin' valuables.

CHARLIE: Boy, I‘ll say...I mean...oh, you are?

Ya...and I want you to guard 'em with your life,

Chuck.

CHARLIE And Biz g Cm sby thinks he's got it good.

Now, then. Here's my plan. You and I'll sneak

out of here the back wa;. If we make it out of

town safe and sou1hd I'll give you a big reward.

Cdzﬁl ‘ R3ward! Hh11t's the reward, H03 13?

WEST : Tell ya later, big boy.

CHAR LIE : I see. Say, Rosie, this all sounds too easy.

Why so much worry, anyway?

WEST: You see, Chuck...

CILKRIJEP Yes, Rosie...

WEST: Somebody's after me.

Ya, I can see why, too.

No, I mean they're after my money.

Ihy, if anybody threatens you, Rosie,1511 teal

'em apart, I'll...I'll...I'll...

WEST: It's Tw3lve Shot Bill.

CHARLIE: I'll orv 3, that's what I'll do. ‘, :wcwn Haul: What's iln: , Chuck}

'] 5 f‘ l‘ I. CIM‘QILIAJ o Br...l mean I'll try, I'll try, Rosie.

“Dal v ' .‘C‘ ['3‘ 3 That's what I like, Chuck...e good fightin'

Spirit.

CHAR LI £1}: Ia...the way it looks new, that's all that's gonna

be left of ae pretty soon.

WEST: Hell, Chuck, you haven't changed your mind,

have you?

CHARLIE

.0 Why, no, Rosie. Why, for you, I'd do almost

anything. L —

SOUND: 8 IX GTE??? FE: IIIIG SHOT OUTSIUE S.<'LI.OCI‘E.

CHARLIE Uhmoh. What's that?

WEST: . Sounds like Twelve Shot Bill's arrived.

CHARLIE Or else somebody's celebrating the fourth of

July a little early.

COWBOY: It's Twelve Shot Bill!

CHARLIE Well, it certainly isn't Santa Cl {0 U) :3

COWBOY: He just shot somebody!

CHARLIE What did the poor man do to Twelve Shot? O.

CC)?!I BOY: He didn't say "Howdy.”

CfIPXR IJI E o Uh—oh .

FIVLDS: I never liked an unfriendly cowboy. Never will,

either. Bartender! Give me twelve shots! One

at a time! I'm in no hurry.

WES That's him, Chuck.

r.-. CHARLIE: 1C).. I gathered that.

-WL5T: Chuck...l'm getting out of here the back way. 77 I think he‘s seen me already. keep him busy,

while I make a getaway. See you later...

if...well, good luck.

CHARLIE: Ya...what? Uh-oh. I think he's seen me here

with Rosie.

FIELDS: Hey, kid!

CHARLIE: Who, mwm-me?

FIELDS: Ya, you. Come 'ere.

CHARLIE: how?

FIELDS: how!

CHARLIE: Ohhhh...

FIELDS: Did I see you over there with hiss Mae, the

Rosebud of the West?

CHARLIE: Well...l...I...

FIB DB: Oh, so you won't talk, eh?

CHARLIE: But...

FIELDS:- What were you doing with my girl, stranger?

CHARLIE: Er...I was just passing the time of day,

Ir. Twelve Shot.

FIELDS: Oh, just passing the time of day, eh? Why, I'll

have you know that I've had a showdown with

. cowboys for less than that!

CHARLIE: I was afraid of that. FIELDS: Now, what were you up to?

CHARLIE: I»I~I won't talk.

FIELDS: Won't talk, eh? soursez Igor: or 17:, ALL moons «gun‘s.

11 1147-4411:.) : Iou know what that means?

(1 'TT., - -“7-T‘ '1“ ‘..-('...P'rvilh‘ ‘lv'I‘ T.(‘ IIJJ-Jydxs f. ' ._),!‘i_x_.-)i.-11«\J OLF'J.‘ CT“ 00bwwt . - m...‘.—..-.~- ...- .. —o--~- - -—.-—'-‘¢..

53‘1P‘.‘ -...c‘-

CHARLIE): hell, for one thing, you just lost this saloon

some business, Twelve Shot.

FIELDS: Don't get smart with me, t““n or. I'll see you

out in the street at high noon, or else I'll

come in a shootin'!

SOUND: SLOH, V” VI FOOTSTHPS HAIgILQ OUT.

CHARLIE: Ohhh, me. Oh, my. Boy, I'm really in trouble

now. Oh, b:er :o.der can you help me? Please?

AHECHE: I'll sell you our High Loon Last Chance Special

for half-price.

ChARLIL. Ohhh, no! I'm too young to die!

{T r'dce it or leave it, kid. O.K., O.K., I'll take it.

ANECHE : Want some straws?

CHARLIE: No!

AMECHE: Half—price?

CHAR LI E : Why, you'd rob a dying man, wouldn't you?

ANECHE: Doesn't make much difference after you go out

there, does it kid?

CH MI “1&3 3 No, I guess not. What time is it, or do you

che rge extra for that, too?

No. It's on the house this time. It's one minute

before noon, kid. Better have your drink. It

may be your last. '29

r ’ ‘ ‘ “ ‘ "3 ’ t - 1“ ' '.ﬂ_: “I. Y-V‘ " - .1 i1téJl-LJ. J. la. I guess you're right. L03, what a bzﬁs drink. Can’t you do any lot. or than tv’ for my last no?

on m€--o0h. my. Why did- :‘t I listen to Lergen? Oh, ulwg? Boy...this drink...it...kind of makes

me...feel drowsy...and...oh no...I can't feel that

way now...oh, no...I...I...Ohl...Eergen...Helpl...

Bergen: Bergen!

DEEiEV ... NUGTC Fllrm

IWU IC ng |

CHARLIE: Bergen! Bergen: Help!

EDGAR: Charlie! Charlie, wake up!

Cl-IARLIE : Ohhh...Eergy...is that you?

EDGAR : Yes 9 Charlie 9 I'm right L here CHARLIE: Oh, Bergy...l'm so glad to see you. Where am I?

EDGAR: It's all right, Charlie You've been dreaming.

Xou must have fallen asleep while you were waiting

here for Mae West.

CHARLIE: You me an...it was all a dream? No showdown?

EDGAR 3 Yes, a dream, Charlie. What showdown?

CHARLJER Oh, it was terrible. I think I'll be nice to

Mr. Fields from now on, Bergen.

EDGAR: Well, Ive always told you to, Charlie.

CHAR I know, Bergen, but I've learned my lesson, now.

EDGAR: I certainly hepe so, Charlie.

CHARLIE: But what about Mae West? In 3y dream...

WEST: what about me, small, cute, and cuddly?

CHARLIE: Oh, Iergen, catch me. I think I'm going to faint. any uggggﬂggg_u:s .ﬁcnrseni veins: TO co erQLgL, N931C 9.

. {CG .. Swoonns). ,- '3 ALuOangsusio. “r!" n' ‘:“*'z‘}:;ng: m ihwro 71""? UP hnD at Odi. r'm . -ﬂ‘.u—~§ ' ‘ Many radio comedy programs in the Golden Age of Radio featured a straight man and a comic or dummy. Usually the comic held the strings of a joke's outcome and got the laughs.

But straight man Edge Bergen literally held the strings of his jokes, because Charlie McCarthy was a dummy dummy, or more carefully worded, a ccmic's dummy. Charlie may have pulled the laughs, but Bergen pulled the corls. Charlie

McCarthy is probably one of the richest dummies in the world.

Edgar Bergen was born in Chicago on February 16, 1903.

For date of birth of Charlie McCarthy the reader should check the records of his family tree. Actually, Bergen got the idea of his dummy as a senior in high school, when he sketched the face of Charlie McCarthy on the flyleaf of his history book. His model was a street urchin newsboy. that Bergen once knew. As a boy, Bergen had been proficient in throwing his voice and tricking friends into thinking that someone was outside the door. Working as a paid performer with Charlie, Edgar Bergen went to Northwestern

University to become a physician, but succ sees in local theaters faded his ambition. Transferring to a Speech course, he earned his degree by going to school in the summer sessions and working winter months in.vaudeville.

On visits to Europe, Russia, and South America, during his ten years in the vaudeville circuit with Charlie, I Bergen polished his act and soon found himself on radio.u*

I '“4Landry, Radio Business, pp. 7-8. Bunnies ,. ...- . 1he.11e certainly 1.“- 1.. .:. '., 101.vt 1 J- as. -.'- Q;n ... mush 1,] happiness and success, not to version money.

r. 4.", 1s v; 0111103 - o will r cu1 I'Jlr bddfllﬁ'P‘ ‘.- l ‘ ' . -‘ ICc

\ .'- 4:», -\ '. r -‘- I r V“ I" -r ‘y 1’ V\ 3'. :5 J ‘ ’ inhujln5. hi.s slit-r '2. 620 k«th A 1rvyL¢~~CJ’) “rs an unending strut”l to tare he (army‘s stupendous self- esteem. uhc radio; hdﬁar Eer'czn, is one of the n;rea comed:‘>r'at1'lf>z1ts 03’ this ESCJILIJlT/iml but it is sir alumni: that the IiCi vein weich he clevrrly 1..'e-r“s is the vein of 1r“04.uos10. Tens of.millic s of Ar11ic as list to the T’ MC 3 fire bet1ucenh1n 1. and he dummy every ween. 1 45

Bergen introduced Mortimer Snerd in 1938.‘ Slow, repetitious

Mortimer originally may have been out of place in Bergcn's fast-paced comedy, but the dumb rural boy idea was successful.

Eot everyone Berg en had on his show was a dumm1. As in this scrip , w. G. Fields and has West were guests.

Bergen reSpected Hr. Fields:

Fields was the most talented men I ever worked with anywhere. He could read a joke soru 104v wrote for him. He could 1J.ite his own joke srd (ell 1r it :13 fully. And he was a mastc:er of rartorirtmuthlch had no pa.r t in radio, 01 course, weept for the occasional benefit of our studio audience. ”0

In 1937 Fields appeared on “The Chase and Sanborn Hour" with

Bergen and Charlie as a chance guest, but stayed on as a regular until the summer of 1939. has West, a frequent guest on the show, wrote much of her own material. She aroused much cor troversy then she performed her own Adam and Eve skit with Don Ameche.

Bergen also had a regular cast for his weekly shows.

Don Ameche was Master of Ceremonies and appea1ed in

.1”)

"The Bichcrsens" skits with Frances Langford. lhe progran characters were Pasquale (Don hmeche), arscl Thing (rat

Patrick), Charlie's principal (Norman Field), Vera Vague (Barbara Jo Allen), and Professor Lemuel Carp (Richard haydn). Also, there were vocalisss, an announcer, and an orchestra and conducter (Ray noble).

The basic character humor is inherent in Bergen,

Charlie, Mortimer, Nae West, and W. C. Fields: each responds in a complex, prescribed manner that fits the character.

Feeding into this character humor in this script are mainly the humor techniques of literalism, exaggeration, momentum, statement of truth, confusionism, and verbal combat.

Edgar Bergen and U. C. Fields are known for their literalism or puns. For example, when CLarlie remarks that he's beginning to see the sunshine, hay Eoble makes his timely entrance. Ray Noble relates to Charlie that his apprehension is all in the mind; Charlie retorts, "hot when

Mae West is around." W. C. Fields makes frequent use of literalism in his remarks to Charlie (a wooden dummy), referring to bleed poison, bowling balls, or chOpsticks.

Charlie counterattacks with literalisms about Fields' large red alcohol nose~—a red flasher or a big ripe tomato. Some exaggeration is used in the script. W. C. Fields,

noted for this technique, refers to the gian; '4- mastcdon crushing his fence pest into chopsticks. Th {2) High Noon City episode is a bit of exaggeration of the old West. This episode also erploys a little comic freedom for it to occur as Charlie's dream. 83

m lhe,iast~p:Cea \ . ,. '3 momentum ..-. . .2...“ .-is an. , Luger‘.‘ .3 .... . u‘.‘3 I’q ~ n tlaii‘a ..-. ark.

Throughout the script, lines are n.11lv short and Join‘ Cu. . '1 CT F

ouips oi‘ roLmL3l conversation. But the rolew um is .ict nth P“ C.» by the character hiimor element . The romanttm must follow the

ChE racter's natural talking hab:1ts, which are fast and ilnpu- dent for Charlie and slow and dumb for Mortimer. But whenever Charlie or Mortimer are involved, Bergen ultimately

controls th momrc ntum.

The statement—of—truth element of humor helps make

Charlie and Mortimer lovable characters; they are at times very hones and human in their Meaaris. For example, Charlie admits he loves Mae West and is nervous about her arrival. Or Charlie remarks, ”Touche, touché,“ 1rhen Pergen reminds him th1t he cannot Spe a1< for himself. Charlie's honest eXpressions of fear contrasting with his usual bra *sauocio provide bits of humor. Mortimer Snerd's remark that a fly is a fly and a bed bug is a bed bug, is certainly truthful, but in context it is funny.

Mortimer Snerd is a good example of confusionism. He responds to Bergen‘s first question that the day had not found him yet. He then is confused about colloquialisms, thinking that they are insects. The Word "3eculiarities" gives him the same trouble. Mortimer by an unintentional play on words misuna erstands what R rgon means by missing school. Hhen.R erg; en asks if he was truant, Mortimer replies that he we 3 Mortimer, not Hr. Truant. Confusionism about .1 ‘- _ L‘ / ‘i’N i ‘ ‘.- -3.\ 7’ '3 '.o'; ~- ‘7 ‘1‘ h ' (I -,,\ rum». :3 VUC 1111 LA f3], L1L\‘ll s, f) L.~ L}. LuLA/kzr'bW-i‘l'u 0.1. ‘I- {’1}? \1:A1'\>l‘r h3iicL (....

Veibal C~M'“t could be Chailie .rCcrchJ' middle name. The little impatient urchin a ways scerzs to be asking }-J for trouble in his COL”&TCQtiCHS, espom “a ly with H. C.

Fields r Bay hoble. Although he does exchange a few verbs

shots with Bergen, almost nothingc an equal the ra ﬁng fury of verbal combat in the famous Chorli e IIcCarthy-H. C. Fields feuds. 'As in this script, the fight is no holds barred.

q a Badj.o auci ) onces must have surely looked forward to the im— minent battle When H. C. Fields appeared with Charlie. CHﬂPTHH VI

LODuullJuD COREDI VARIETY

"THE JACK ‘Lil’ SHOE"

Pro mr m LEJlf 3th: Thirty minutes MUSIC: sagas some UP TO FULL, TREK URUEP Foe:

WILSOE: It‘s the Jack Benny Radio Special: Starring Jack

Benny with hary Livin ostone, Dcn1iis Day, Eddie Anderson, Mel Blane, Frank Nelson, Phil Harris and

his Orchestra with Special guests Sheldon Leonard,

Andy Devine, (enny Delmar, Einerva Pious, Parker

Fennelly, and Peter Donald. This is Don Wilson

speakin

BEENY: Jelluo again! wIIs ”: JRIlMO 60 SBCC”D COV‘LHCIAL, LJVE.

IviUSlC: THEE-ET? SONG BRIDGE-'3 UP TO FUN J, fPIIAUor THEN UlTD‘uIR:

BENNY: Thar: you. Thank you veryn much and vxelcome to

our show tonight." You know, it's been so many

years new since we' ve been to gether on radio. It's

been over fifty years since rs dio began this

wond rful medium of entertainment and information.

So tonight, tile Jell~ 0 people have made possible

85 this 4" . prohrem 5‘ ‘ '-‘-.—-\ to perh a '1‘ .- .ﬁ gs bsing ~Ix» I: QA r Leer 7‘ .7 sore , ' - pleasant - A. —‘-' -.

As you all know, some of the greatest stars of

early radio we remember aid loved so much are gone now. Fred Allen was one of them. Through the

courtesy of the Jellmo people, we are dedicating

this Special radio broadcast in memory of Fred

Allen. Later in the show we'll pay a Specie

visit to his own "Allen's Alley," as he might

do it today.

And you'll be happy to know that I'm going to play

my violin tonieht. So, to get tie show off to a

great start, I'll play it now. Oh, Don...Don... Don Wilson...

WILSON: Yes, Ja h? '

BERN I 3 Oh, Don...I'd like my violin now.

WILSON' Your violin?

BENNY: Yes. You brought it, didn't you?

WILSON: Well, Jack...

BERN Y : what's the matter? You either have it or you

don't! Now where is it?

WILSON : Jack, I don't know how to tell you this, but...

BERN If: What is it, Don? You haven‘t lost my Stradivarius,

have you? u I IS ON : Well...I!m afraid someone set on it, Jack.

Br“ u Wr- ‘1.- O Oh...well, maybe it was Dennis Day. He wouldn't

hurt it. 8?

It waadttlknuus, Jack.

Let's see...who...wait a minute! You didn't sit

on it, did you? w I 1.9 11-: : I'm afraid so, Jack. You see, I was in the...

B131 .3 12‘ y : Never mind how it happened! How is it, now? w I 15013 : In a thousand pieces.

BEA-:1: Y : How terrible! My very own Stradivarius And it

was only as old as I am, too.

iABY: Well, if thatis the case, you're about due for a

replacement anyway, kiddo.

BENEY: Now cut that out...oh...Mary Livingstone!

MARY: Yes, Jack...and I'm really sorry to hear about

your violin.

BENNY: Yes...I'll bet you are. Sav, Don, go out and see if you can find another violin. I just can't see

starting the show without a violin selection

by me.

WILSON: O.K., Jack, I'll see what I can find. Excuse me,

Mary.

MARY: Yes, Don. Look for one with strings on it...you

know Jack can't sing a note.

BENNY: I can't get over it, Mary.

MARY: Why Jack, you shouldn't have to worry...you can

always buy another one.

BEN N Y : That's what bothers me.

MARY: Why, Jack, certainly you can afford at least

one more. ’3 \) C?

The point is, I got that one m my F1: "5 O

I'iAIIY: (31, I see. 530 LPVITT 1 val.u1.

LEEEY: to, Nary. You see, is thought that Str radivarius 5...:

was almos worthless beca so his uncle gave it

to him.

MARY: So...

BBENY: So, my uncle sold it to me for two dollars, and

that included the b w. I just can't get over it.

I'll never find another bsrgain lir:e that in a

million years.

ELRY: Did your uncles play the yielin, Jack

.EJEI‘E Y: Oh, they both tried, but most of the time they

hung them over their fireplaces for decorations.

They never realized the true alue of a Stradiva r1118.

MARY: Well, how did you buy the violin, Jack?

BENNY: You see, I was the only member of our family who

showed any musical promise.

MARY: Hmmm. What a shame.

BEE N Y : One day, my uncle wanted to get rid of it. So,

as he was about to throw it in the fireplace, I

offered to buy it.

So he offered it to you for two dollars?

No...he offered to sell it for a hundred.

One hundred dollars?

BEEEY: Yes...outragcous, wasn't it? 89

,3 rrj' '1'.“ LLA ‘ I .' But Jack. Didn't your uncle live in an old cabin

in the wilderness

BEE I; Y: Yes.

I‘MBY : And didn't you tell me you had a small fortune in

savings when you were young?

BEEEY: Yes.

NAB Y : But, Jack, 10w could this poor man have sold you

a Stradivarius for two dollars when you could have

given him enoug‘ for a hundred times its worth?

But hary, you don't understand!

Jack, really. How could you have done such a thing?

BENNY: Hell...I was almost pcnniless at the time.

MARY: Only two dollars, I suppose.

Elam-n1: That's right, Mary. I never carried more than

two dollars in my pocket at any time. It made me

sick to think about the possibility of losing any

more than that...let alone spend it.

W I ISON : Oh, Jack...Jack...

BEE 1‘! Y: Oh, Don. Did you find a violin?

WILSON: Yes, Jack. I found this one back in the dressing

room.

Oh, good. Now we'll get this show off to a good

start. I really hate to disappoint our audience. wnsmu Careful, Jack. I don’t know who owns this.

BENEY: Oh, I see...

DAY: Mr. Benny! Mr. Benny! Oh, Derlll> Day.

Hello, hr. Benny, ﬁery, Don. I‘m sorry to iri 2rrupt

you, but my violin is missing.

gpu brought a violin?

DAY: Yes, Mr. Benny. I brought a violin V'i on me and

haven't been able to find it.

BE”LY: log brought a xiolin? ...-...-

DAY : Tliat‘s right, Mr. Benny.

“J "t“.l Y o )3141\ . But Dennis...why you? Of all people...you' re

sup opo sed to be a singer!

DAY: And you're supposed to be a comedian.

”1‘12; 7 u‘r 13.2410: 1.» Y: Now, cut that out! I'm the boss here and don't

For~et it! I

MAI-11' : Yes, Dennis, and be careful. This old boss is

becomilg a J.ittle can ankorous in his old age.

BENNY: But I'm not oantanlwerou ! I'm not_old!

MARY: And my name isn't Mary Livingstone, I suppose.

DAY: Say, Mr. Benny, is that a Stradivarius you have

there?

BENNY: Huh?...it looks like one. Hey! This s my ’.‘0

Stradivarius! I can tell by the dark spot on the bottom. It got that way frOm hanging over the

fireplace.

Well, Jack. It looks like you didn't lose your

bargain after all.

No! This is just great! But Don, what about that

violin you sot on. I wonder who it belorgs to? Do you have it, Don? 91

Yes, Jae}, it's r‘ght here in its ease, or what's

r“!

left of it.

DAY: T Lat looks like my violin!

BESSIE- : Your violin?

DAY: hr. Benny. I'm sure it is.

MARY: Oh...that's too bad, Dennis. It looks like it

was a very good violin. Yes, it was. It was a Stradivarius that was given

to me by my grandfather.

Your grandfather gaze it to you?

Yes, hr. Benny. It was a gift. He was a very

generous man.

* 131'} N Y : to charge?

DAY: No, Mr. Benny.

BENNY: Well...

R ‘ 131140.13. : Why did you bring the violin with you, Dennis?

Were you going to play it on the program tonight?

DAY: Oh, no. I know Mr. Benny always plays his violin.

13131-11in Well, that was thoughtful of you, Dennis.

DAY : So, I knew that things were bad enough already.

You kn w, you can be replaced!

Hell, Dennis, if you weren't going to play it, why

did you bring it?

Well, I have a rich uncle that lives nearby who offered to buy my Stradivarius for five hundred

thousand dollars.

BENNY: Five hundred thousand dollars?! ‘..')

Fini’Y: kny, Dennis, you must feel terrible!

wmndn Yes, Dennis. I'm terribly, terrioly sorry I

ruined your Sim rad iv.' r118.

BjrnY Five hundred thousand dollars.

'wILsou: Denxis, if tht-re's anything I an do...

DAY: Don't worry about it, Mr. Wilson. My uncle will

prob.bl -y find another one to buy.

W I L801! : Well, Jaclz, are you going to play that selection now

that you have your own Stradivarius?

Hmmm. I wonder...Oh, Dennis. DAY: Yes, Mr. Benny?

BENNY: Dennis...do you have your uncle‘s address with

you new? I

DAY: Why, yes, hr. Benny. I just happen to have it

here. But why?

BENNY: Oh...well, I thought I would just step by for a

minute now, and tell him to be sure to tune in

our program this evening. It shouldn't take me

too long. Meanwhile, Dennis, :hy don't you go

ahead and sing a song. I'll be ack. Five

hundred thousand dollars. Hmmmm.

MUSIC: 13:31:31“ SI: G84 ACCOT'TPJ’LLJIED BY PHIL EULHRIS AND HIS

0204“ TBA, Than (3 minutqgi:

wII£ O“: IIVR JBIL~O coNKERCIAL (60 seconds).

BELNY: (H1,‘doczm “to 1 Rochester! 93

) g l-.- n. 1- - 17(- -p r“ BO CEIE.EJJ'.I'..'ICI L C l :1“ ‘41. Q -»-'\.3nl.1‘3’ :

1'”- 4 -: K-Y‘n11‘ . all bLt I o Get the Jar started and hurry; I've got to pay a ’3

quick visit to Dennis Day‘s uncle.

But boss, what stout your show ...)

Never mind about that. Don, ﬁery, and Dennis will

think of something. Now let's get going.

ROOM: 0.x.

" ‘.11 Hi" ,. “.‘!"‘ " A ,"j i V! C' * ?,"-I‘-'\,F’-':“ My 1".I1IL PI. .I,V.l\.7 I); ‘;YIL.G t].‘l1AC-'-‘I ‘ L-) CIT.) 1.I'.J/;I"V .IIJI-J (Niel-3. -Lﬁ- “..-”? —

STARTING UP.

BOCH: Say boss, aren't you ever gen 9 trade this car in?

It's gettin' kind of old, if you ask me. what? Why, this is a classic car, Rochester.

Besides, a new one would be so expensive. Now,

iere‘s the address. 110C321: Oh, ya. That's not too far from here.

BENNY: Well, just hurry, Rochester. I've got to get

there before somebody else does. I can't

believe I've got this break. Say Rochester,

you don't have a Stradivarius, do you?

ROCH: No, I don't think so, boss. My grandfather gave

me a banjo when I was twelve.

BENNY: He gage it to you?

KOCH: Ya. He was a good m sician. Spent a lot of time

teaching me how to play, too.

Benz 1' : I can't understand it...

KOCH: ‘(V What's that, b. 80 0‘3 0

RSI-IN Y 2 Oh, nothing, Rochester. How much farther is it? BOON: Not much farther, but toss we‘re gonna have to

stop for some gasolirw .

BENNY: But that’s impossible. You just filled it three

weeks ago.

BOON: I know, but all these trips you sent me on for

grocery stor specials since then has used it

all up.

BL NN Oh, I forgot about that. But I just couldn't

resist them all.

ROCh: Ya, but I still can't figure out why you had me

buy ten pounds of trepical fish fee d last week. We don't haye any trepical fish!

BENNY: I know, Rochester. But it was such a good buy.

You never know...somebedy might giye me some

repical fish someday, so we'll be all set.

ROCH: Say, boss, where should I stop for gasoline?

BENNY: Hmmm...we've got to make a quick stop and can't

Spare much time. Let's see, they all look the

same. ‘ait...here's a small clean one. Maybe

they won't charge so much.

ROCN: O.K.

SOUND: CAR SLO‘IIILG AND PULLING TO A HALT.

ROCi: I don't see anybody around, boss.

BENNY: Well, honk the horn once, Rochester.

SOUND: CAR HORN NONE.

BENNY: Oh, good...here comes someone. .MIDY DNVIN‘: Hiya, Buck! \Q \J‘

NOON: U] '1 ‘~“ 0 11 0

13:.“ ny- Jlnl‘ O Ya, hello and give us a dollar’s wortt. We're

in a hurry.

DEVINE O.K....Nhat kind would you like? Ne've got super

Special super, super Speed super, premium super,

super regular, super, super premium regular,

super premium... .

BENNY} Wait a minute! Nait a minute! 'I haven't got time

for all that! I'm in a hurry! Well, then, whadya want?

"pit“. H1! 0 414..“ o .03 U!

Just give us a dollar's worth of the 0 (D (D 54 C’- 'd

stuff you've got!

DEVINE: 0.}:.

BENNY: Who does he think he is, anyway? Super Special

super! I never heard of such a thing.

\ DEVINE Nell, nice day isn't it?

,T'ﬁ‘ Y‘.‘ i“ 1‘ Y: Yes, yes, yes...did you put in a dollar‘s worth

yet?

No, not yet. My pump has been running a little

slow lately. Excuse me, I'll be back in a

minute.

BENNY: That's all I need! Do what you can to get it to

hurry up! I get a chance to sell a Stradivarius... S} USLDON LEONARD: Pssst...hey buddy.

ISISIJFIEC: ? Who said that?

IEOI‘IAHD: Over here.

I3EZEIIITK': Who me? 96

1:11:30" “"1173: Ya...I heard ya sax you ‘re 3sauna ell a Stradivt ius. U LHE'Y: Nell...1...

LEONARD: Ney, buddy...I've 3 ot a Streliiarius here, if

your interested.

BEl‘iNY: You do?! I mean...oh.

LEONARD: Ya...and hon'd ya like ta buy it from me?

BEEN : Hmmm...I'm really in a hurry, but...how much?

L3 ‘40; JAIN): Fifty bucks. \

BEI‘JI‘E Y : Hmmm...1'll take it. Now, I'll pay you later,

you see I...

LEONARD: Pay me now...eash. , ,..- IBLSIJIJ : Cash?

LEONARD: Ya, cash. which will it be, buddy? l‘ake it or

leave it.

O.k., O.K., I hate to, but,..here

Tnanls, buddy. I thoug ht you looked like a ran

who couldn't turn down a bargain like this...

So long.

Ya, thanks. Thanks a lot. Gee...v:h at a nice

guy, selling me a Stradivarius for only fifty

dollars.

DEVINE: O.K., Buck! You've got a dollar's worth.

BEEN Y: O.K., here.

DEVINE: Thanks, and be careful what you buy around here.

8121.1. ."l? .7 ‘ Nhat do you mean?

DEV 11113: ”€11, VOI (it .3 out that theI e's a band of crooks

Operating in this area trying to sell stolen

merchandise. i.

.. ‘ '.. -. ' - '.t ' I ' ‘ ' r a ,\ o l 1 1r ulSe. Nell, I‘ll be careiul.

l‘x', "Jaw,“ ’ v f" ’A- M. . .V' .1 -‘ I ‘3 \ .'.. . '1 , 1. .' - m‘ , , - ,- p v"- "'.r' I 1.1:-- » ..L .‘vJ-J o ‘..‘U ‘1 d x H .J. 1 Lu]. {J (a !. .J.{..(.~'.:1 {JOK lb. 0 I138. an !! Ala,

S ..." 11,1341 :(LC..1‘~_,".-LI('3.’ e, Lit) bit 01’). 1,116, LL’ ‘ * eh. The

4 r. v- ; w. ;. so ..., r. 1 ~ ‘ —. .~.‘ — I ‘. ‘7‘. ". 0‘\ “.');,'\ tr»: r . -n (a 1).." 01' .L(’\‘ Lz-i. ‘.., .44. "..— Ilrfﬁ. \/ ‘..... V ,L J lj‘o to tr: >01: down the

w ‘0, 11 r1:' ‘ .1 A“ \ . bLLsil .L. I

DISYVr .[Izp l—J : La. And if they catch or yooiy 131th this stolen

merchandise, there’s a five hundred thousand

dollar fine, just like tIm t. Aid.they'll run

ya in, too.

DEIII-IY: O.K., thanks for t1e warning. Now, we've got to

get going. Let's go, Rochester.

D13. VINE: So long, Buck!

SOUND: CAR SF‘M’ M .f} DIJD PUI‘JJM} OUT.

KOCH: Mighty unusua station.

PEI. I Y Yes, and we lost valuable time. I've got to get

that five hundred thousand dollars fro om Dennis

Day's uncle for my...Hait a minute!

ROCH: What's up, boss?

BENNY: But I've got two Stradivarius violins, now! That's,

that's...NONNN!!! Rochester, step on it! We've

got to get there fast! If I get there and his

uncle buys both of these...ZONEN! Let's see now,

I wonder how much all that money would weigh?

ROCH: Hey boss, you think I'm goin' too fast? 98

\-"'09 .9."V ‘ t, ,.'I . Ll-JLIJI A. O Ne, Rochester, go ahead ane go faster. I‘m not

worried aboit a ticket now. besides, there's not

much traffic on the freeway.

NOON:

BENNY: A million dollars...a million dollars...a million

dollars. It has such a nice ring to it!

ROCII: Don't look now, boss, but there's a siren ringin'

away behind us now—-and a flasher, too!

BENNY: Oh, no! Why us? And at a time like this!

ROCN: I'd setter pull over here. SOUND: 033 srou;uo TO smpr,,rotiouso 21 SIain AND

gNFNHNNl CﬁiiESLONlixl ANE)5NNSPNILX}.

BENNY: Let me do the talking, Rochester.

ROCH: O.K., boss.

DISNEY: What is that officer 'oing? He's just walking

around looking at the car. What's he looking

for? Oh, officer! Officer! FRANK NELSON: Yeeeeees?

KOCH: I see trouble on the horizon.

BENI‘IY: What's going on?

NELSON: Nell, that‘s what I'd like to know. Are you on

your way to a fire? Or are you about to have

a baby?

Now don't get funny!

Neeeeeell, I've heard them all, Mister. Now,

what's ymprs? Or can I guess?

New look officer, I'm a tarpayer! 99

1.3151130} J l'e<::oeec—>s, arc-31' t we all.

V‘xi'nys“ . (‘L'l‘\l. Y 9 ihzt I drmmuui aix

15111113015 Oh you do, do you? Very well. I'm civing you a

ticket for Speeding. How‘s that? Or would you

als like a lecture? I do that for some

lawbreakers.

"1‘1 r. Bibi v1: But you can't do that! I'm Jack Benny!

NELSON: weeeeeell, now, isnlt this a privilege, Hr. Benny.

I've heard a lot about you.

BE N“ Well, you should. I'm famous, you know.

NELSON: The officers at the station th git about taking up

a collection for you, you know.

BERRY: You did? For me?

NELSON: Yes. We took all twenty—five cents of the

collection' and bou .mlt setne peanuts for the elephants

at the zoo. We knew you would appreciate such

a kind gesture of generosity.

BENNY : Yes...Now, give me the ticket so we can get going

I'm late already. b.8100}. o Not so fast, hr. Benny. You know there have been

some stolen goods sold in this area.

BENKX: New officer, do I look like the type that would

NELSON: You don't really want to know, do you?_

BEUMY: Icw look, officer...

I'JELSOZI: 12ers quiet or I'll give you another ticket for

disturbing the peace. 100

LL‘”Y. Nell:

NELSON: Now, then. Is this your car?

BENIIY: Of course it is.

NELSON: I war n't positive you could gﬂfogd one. Now,

what are in those b xes?

BENNY: They're Stradivarius violins. New look officer...

v NELSON: I May I see them, please?

BENNY: Here...but be careful, they're very value ble. NELSON: Oh they are, are they?

RENEE: Hell...kind of...

NELSON: Hmmm. I see. Hell...this one's O.K.

BENN : Officer, what's the idea? fhese are my violins!

I got hem fair and square!

FVISON: Hmmm...

RENEE: What's the latter?

NcLSON: hr. Benny, are your initials by any chance,

"XYZ"?

BENNY: Now, look officer, you know very well my initials

are...what?

NELSON: This Stradivarius has "XYZ" stamped on it. Would

you care to explain?

BINNY: I...I...

NTLSON: I don't believe any explanation is necessary,

Mr. Benny. I'm running you in for dealing with

Stolen property.

BENNY: But officer! lOl Io~, now, Mr. Benny. no don't want to mc:e a

scene here do we? N w come with me.

BENNY: Nait! You can't do this to me! I'm Jack Benny!

I‘ve got a show on right now!

NELSON: I'll say you have.

BENNY: No! Wait! Please! It's all a mistake! Nait!

NUS IC: BRIDGE TO CONNERCIAL (60 seconds), THEN (2 minutes)

”USIC s: PHIL H-‘szIS AI’D 111‘3 Oi? ITJC‘T’I‘ .

WILSON: Nell ladies and gentlemen, we don't know where

Jack is. Apparently he just went out for a minute,

but there's no Sign of him anywhere. I really

dm 't know what to say...

BEI‘INY: well I do!

WILSON: Jack! What happened?

NELSON:' To put it bluntly, he's under arrest.

WILSON: Arrest?

NELSON: Yes. Your friend Rochester got a ticket for

Speeding, but I'm afraid Mr. Benny is under arrest

for buying stolen goods.

WILSON: Oh, Jack, how terrible.

BENNY: Yes, I know. And in front of all these people,

too.

All ri “ht hr. Benny, you can go ahead and finish

your show. But I'll be waiting for you, right after you finish here Understand? 0 1‘0 5.4

13:31.31 ‘MMX: u .l ! Yes, yes, of course, officer. You don't 1: ave to

worry about me.

If E SON Yes. That‘s what worries me. I'll be waiting. .0

WILSON Oh, Jack. You really didn't...

.‘T‘YW .335.“ No, of course not! You know me better than that!

Well tlen, how did it happen?

E 341(1‘: I: Oh, Don, it's a lo11g story. I'd rather not talk

about it now. And. be.i es, we've got a Show to

do.

O.K., Jack. I just hOpe everything turns out all

rigdit.

BEIHI Y: Yes. 80 do I...Gee, I'm still so nervous. I

need to rest a minute Oh Dennis, Dennis Day.

Come out and sing another song, will you?

DAY: Oh, hi, hr. Benny. Where have you been? Did you

miss my first song?

bENNY: Never mind, Dennis. Just Sillg.

DAY : O.K., Hr. Benny.

MUSIC: 71TI‘3 DAY SINGS WITH PHIL HARRIS 111:1) HIE) CHCEIHST: A,

.9...

Ii-El‘ J NY: Now, ladies and gentlemen, I mentioned earlier in

the show that this Special program tonight is

dedicated in memory of Fred Allen. Some of you

may well remember the feuds we had when radio was king of the airwa.es.

10 ‘...C

how, " , our programs \-~ . v (i and -‘ q Our IV lends‘5' ... 1 alb (‘ ~=g \ only ~- 9 memoXies. ‘ '\y ',I' f‘

But Fred and l were really the best of friends.

And I respected Fred as a fzienf J end as a very

talented comedian 83L entertainer. We all miss

him, his humor, and his wit very much.

So, on this program tonight, in honor of

"The Fred Allen Show,“ me have Fred Allen's old "Allen's Alley.“ It will never be the same

without Fred, but for memory's sake, will you

join me in a visit down "Allen's Alley?"...

as Fred might have done it.

Ah, it looks like Senator Cleghorn still lives

here. I see the old mule is still out back and

there's a board loose on the front porch here.

I'll knock and see if he's in.

SOUND: THREE KHOCKS, DOOR OPENILG.

CLAGHOHN : Did somebody, ah say, did somebody rap their

knuckles on mah door?

BENNY: Ah, Senator Claghorn!

CLAGHORN : Who are you, ah say, what are you all doin' a

hemmerin' ya fist on mah door, Yankee stranger?

BENNY: Why, Senator, I'm Jack Benny!

CLAGHORN: Penny, eh? Jack Penny. Keveh heard of ya befoah

son. What's ya trade, ah say, whetdye do fer a

livin', son? You ain't one 0' these coppeheeds

ah ya? Speak up son, Speak up! I ain't got all

day, ya know. 1 04

Why, £<:**or I‘m Jack i1r...§ggjy. I'm a

famous hellywood star on radio and television.

OILS EIQDEiIJ: Benny, eh. Ah, see. Hell, Benjamin, mah boy,

ah still don't recall, ah say, ah don‘t recall your

name at all, son. ho, sah, not at all. Ya say

you're a Hollywood stah, ch? Ah'll tell ya son,

the only stahs I know ah the stahs on that flag

ya see a hangin' thea on nah porch, son. The

Stahs and Bahs, that is. Stahs, son.

They represent the highest honeh of the

South. Why, the only stahs in this country

today are hose flamboyant sons ol the South in

the Senate and the House, House that is. Why,

son, if it weren't for us Southernahs up thee in

”shin" on a keepin' an eye on you Yankees, this

country would be in an awful fix.

Why these Southern Senators ah bright...

Fulbright, that is. Yes, son, we can raise a

lot 0' tzunder in Congress, thunder Strom Thurmond,

that is. That's a, ah say, that's a joke! Ha-ha! Come on boy, quit holdin' it back: Don‘t hold it

in, ah say, let it all out! What‘s the mattah,

son? H33 a cat got ya tongue? Speak up, boy!

If it's a polecat, wash ya mouth out fast, ah say,

clean it out good! Ha-hanha:

how you take the wind, 8 n, wind that is. 105

Most people up North say it‘s a prevalin‘ wind

from the west ta east. We know tetta dosh heah,

son, because it's the prevailin' South! Why, he

sun nevah rises in the east, son, it rises in the

gggtheast, and when it reaches high roon, it's a

shinin' its full glory south 0' the MasonuDixon

Line! Line, that is. Now you take Southern Fried

Chicken...the South nrovides the Southern Fried and the horth supplies the fowl, odor that is. You

Yankees don't know how ta cook! Couldn't fry a

snowball in a fryin' pan! That's a joke, son!

Ah keep a flingin"em out and you keep on

drOppin' 'em, son. Laugh, ah say, laugh, son!

It'll do ya some good. Use your, ah say, use your

mouth ard stretch t out, long-wise, that is.

Otherwise, ya may get a bloody nose! Ha-ha—ha!

Son, you need an uplift, lift, that is. Now,

you take, ah say, take some yeast, any kind of

yeast ya use fo' bakin'. Son, it's no good at all unless it's from the South! Because, son, the

South will rise again! So long!

BENNY: Well...(pause)...haybe I should go to the next

door here, maybe there won‘t be so much hot air

on the porch.

SOUS-3 2 THERE KKOCKS, DOOR OPEFS.

nus. 1. .Uboanunt' ”1733?” hello? hrs.v.1 ,‘ LusSbaum! y_ . a“. ‘ _

NUSSBElii-i : You were exceoting maybe ﬂail Armstrong?

BISI-JI-ll’: Well, how have you been all of these years?

Oh, hr. Benny, if you only knew all the troubles

I‘ve had!

BE}! I“! Y : Oh, really. What are they?

My husband Pierre.'

Your htsband Pierre?

Oh, yes. It's always Pierre. Pierre, what's

wrong, what is the problem, and all these things

all of the times.

IBISIJIIBC: You've been taking good care of Pierre?

tr r3 ' Pink) . N 3 Oh, Hr. Benny, you don't kn w what I've been

through. Pierre, he's grown older, you know, and

he has the growing old problems. Do you know

what I mean, Mr. Benny?

BENNY: Hell...not really.

MRS . N : You see, Pierre has got the gray hair blues.

BE “JN Y: The gray hair blues?

MRS. N: Oh, I'm afraid so, Mr. Benny. Pierre is going

around all of the time trying to dye his hair blue.

BENNY: Doesn't that look rather silly?

Yes, and I tell Pierre, I say "Pierre, you crazy

old man. Your hair is growing old like you are." So I say, "Pierre, you have got to face the facts

of life and leave your hair gray. Don't make it

blue," I tell him. 10?

And Pierre he says, ”And why not? I've got

hair on my head, so why should the color make

any difference at all?"

And I tell Pierre, “Pierre, you're a grown

man, so act your age, already.“ I tell him,

gray hair is a sign of wisdom, I say.

And Pierre, he says, "Well, if it's a Sign of wisdom, how come it is that so many old folks

are running around with the gray hair?"

Then I tell Pierre, I say, "O.K., go ahead

and dye your hair blue. See what I care." And I

tell Pierre, "Don’t come running to me when the

young qentlemen in the white coats come after you.“

Then Pierre, he says that he doesn't care

because he doesn't like the ice .ream anymore,

anyway.

Bern-I y : Well, anyway, hrs. Nussbaum, you're looking very

spry and healthy.

MRS .N : Oh, Mr. Benny, you're so kind. But I'm not just

as young as I used to be. And I ask myself,

“why am I putting myself through all this? Why

am I breaking my back these days?" And then I

think to myself and I say, "And why not? Look

at Mr. Benny and then be thankful you are still

young!“ Good~bye! 108

[313“ {‘.IT ‘- ‘7' O how wait a minute! bait a minute! This is $~‘A"*‘ .. .

ridiculous! I'm not even forty, and people are

almost calling me Grandpa Benny! I can't under-

stand it. And 1 33;; so young. maybe I should

have ﬂy hair dyed blue.

Well, let's try this next door.

m"*""h‘ '.1'1‘ "Tic.“ r\ *7 NT)".‘?* ~~ (dn'-J‘."~.‘.$ . SOU'I‘D: .L;J.'J.IL-JJ_IJ 1\J_IOC‘I\,I)L DLJOIL

MOODY: iowdy , bub! BENNY: Ah, Titus Moody! How are you?

MOODY: Oh, just fine, I guess. And how about yourself,

Grandpap?

BEfNY: New cut that out! . hOODY: Well, bub, just tryin' to tell you the truth.

IBESIJIJBC: Well, don't be so truthful! This is a case where

a little white lie never hurts!

MOODY: O.K., Bub. You look not a day over 58.

BENNY : Now let's just forget the whole thing! Now,

Mr. Moody, how have you been over the years?

MOODY: I've been just fine. Wife's been doin' O.K.,

too. She's a little stronger now, though.

BENNY: A little stronger? How's that?

EOODY: You see, she's been helpin' me with the grain

sacks at harvest time.. She's been feelin'

her oats.‘

BENNY: I see. Any other changes, Titus?

MOODY: Nell, Bessie, that's my cow, had twin calves

last year. 109 Oh, really?

Yep: Identical twins. Called one T"otter and

the other one horse.

BEI‘IIIY: Better an" No se.

MOODY: Yep. The thing is, they always seem to cause

trouble together, never just one or the other. But I think Horse starts it all the time, but

sometimes it's Better.

BERN Y : Is that right?

MOODY: Yep. Trouble is, I can't tell which one is Worse.

IBISIIIIEC: I see, Mr. Moody.

MOODY: Yes sir. Had some trouble with my barn door, too.

B13131 1'! Y :

MOODY: Yep. bought one of those automatic garage

door Openers, and I had it installed myself on

my big barn door, you see.

BB}! If! Y : Well, that sounds like a good idea, Titus.

MOODY: Yep. I thought so, too. Well, I hooked it up

myself, you see, because I thouglt it was nothing

Special. 50, I fixed up this electric motor to

the barn door like the directions said. And I

put in all the rods and pulleys myself, too.

Then I took the little gadget you use to open

the door, and put it on my tractor, you see,

because I was fixin' to Open the door when I

pulled up on my tractor. 110 EEHNY Well, what happened, Titus?

MOODY: Well, I'll tell you. I must have done somethi'

wrong when I hooked Up all of those gs gets.

BENLY: Soqcthing went wrong?

MOODY' I’m Orraii so. When I pulled up in the tractor

and pushed the button to Ops n the be rn door,

my tractor stalled. BENNY: Hell, Titus. Did you fix it then?

MOODY: Nope. 'Cau se vzhen I pushed the button again, the

tractor started its el.f , drove itself in the barn,

turned itself off, and the door shut. So I left it alone, and it's worked that way ever since!

BENhY: That sounds like a strange tractor you have, Titus.

Have you given it a name?

MOODY: Yep. I named it after my cow.

BENNY: You call it Bessie?

MOODY: No. I call it Dear. So long, bub!

EENhY: Well, O.K., Titus...Now, I wonder who's down here

at this last door?

SOUND: THREE KNOCKS, DOOR OPYZE.

ROCHEST ‘ Moxdy, boss.

BEEN Rochester! What are you doing here? Ajax

Cassidy is supposed to be here. Besides, I

thougr t I told you to t.'ait with th 1e officer.

BOCH: Ya, boss, I know. But after you ca me back here

on the show, I overheard this hr. Cassidy say

he lost a StraCiv arius while he was here. Ajax Cassidy lost Stradivarius? here? SI;

KOCH: Ya, but he thinks someone stole it.

EEHN : Stole it?

BOCEI: Ya...But he had a bronze copy made when he got

it, in case something like this happened. 80,

he left to find his bronzed copy so the police can identify the thief. A

Well, it was a good thing he did.

wait, here he comes now.

BENNY: Ajax, what's the matter?

AJAX: Oh, hr. Benny, I'm not long for this world!

BEN NY : Well, I know you must feel terrible about the

whole thing. I'm terribly sorry this happened

to you on my show. I don‘t know what to say. Oh, Hr. Benny, it's not your fault at all. I

loved my Stradivarius so well, I brought it here

with me. I thought maybe, maybe we could have

played a duet together. A little Irish tune,

if you please.

Hell, I...wait a minute. May I see your bronze

cepy of your Stradivarius? -

Sure, sure, sure. What is it, Mr. Benny?

BENNY: Ajax...why this has the letters "X Z" on it!

AJAX: Why sure as I'm Irish, it does Mr. Benny. Those

are my initials.

BENNY: But, Ajax Cassidy? 112

AJAX: No. Is see, I take the M at letter of my nayues,

ax," NY," and "Z.“

Oh. Well, I see the ”X" from Ajax, and the "I"

from C ss:Ldy, but what vent the "Z”?

A J AX : But "2” always comes after "I," doe 't it,

Mr. Benny?

BHL\.IY Then, that fellow at the gas station sold me

your violin! It‘s the same one! I know it!

I can tell by the crack in the bridge.

A AX: I'm afraid I'm a bit confused, hr. Benny.

EEKHI: Neve r mind, now. I think I know where your

violin is, Ajax. Oh, Officer...officer!

NE’ 0,: Ieeeeees?

In? .71"! b—JAQJV Officer, I just...wait! That's him! That's the

b ru* who s ld me that violin uvou've ,ot with the “XYZ” on it. That's him! Arrest him, officer!

LEON: Calm down, Mr. Benny. I already have.

BENNY: You have?

NELSON: Yes...Nhile I was waiting backstase for you to

finish this show, I caught him trying to steal

someone's violin.

he's the one who...

I know. He confes sed everything Here's your

violin, hr. Cassidy. And here‘s yours, Mr. Benny. I hepe you're happy now.

BENNY: You mean...I'm...not under arrest? No charges? 113

You're a, o a free A. man, hr.",II Horny.1 . no“ Charges ‘ 4 n '

against , you. So he a good boy and beiave

yourself. Good—bye.

BENNY: Ajax...you've got your violin. Isn't that

wonderful?

Aye, Hr. Benny, but I'm still not long for this

world...I feel I need a bit of rest after all

this excitement. SO long.

BENNY: Good—bye, Ajax. ha-ha I'm free! I'm a free

man! HhOOpee! Rochester, 50 find hary. I

think we'll all go out and celebrate after the

show.

KOCH: O.i., But let's not be in such a hurry th s

time. still got my ticket, you know.

Oh, that's right. Well, don't worry about it.

Go ahead. I'll see you later.

BOCH: O.K., boss.

BENNY: Gee, what a great feeling!

Hi, Mr. Benny!

Oh, hello, Dennis. You look rather cheerful

after you've had your Stradivarius 1 broken-~and

your uncle was going to give you five hundred

thousand dollars for it.

DAY: Oh, I just called my uncle.

PEN NY: Is he offering more money for a Stradivarius?

DAY: No, Mr. Benny. I was wrong before.

')*"‘-,‘TI r. LL;;I“ Q Oh...less money? 1 1 1.3.

aunt of money...but-for a rare

cello, you see...

Out! Out! Get Out!

But Mr. Benny...

Out! Out, I say! You and your rich uncle!

I never heard of such a thing!

LUU IC: FAD?) III REILLY THEY-IE, UP TO FULL, THE-IVE III—I‘IDILER P011:

ladies and gentlemen, I want to thank you all for

listening to our show toni ht. Pd like to

the.nk the Jell- 0 people for ma king it possible.

Hay we all remembe r and may we always cherish the

moments that me ny of us spent in the early da's

of re die with perhaos the gres mt st comedian and

wit in radio's history-~Fred Allen. Good night

everybody!

MUSIC: THEHE UP TO FULL, THEN UKDEH FOR DON HIISON AND

EDI '33? , TIILI COI II“ IAL. 115

E1? it’d 3'", “1;?" l "

”red Allen might not have liked to ever have had

“Allen's Alley“ on "The Jack Benny Show,“ but the reapect the two men had for each other and their firm bond of friendship ' wild we rran such a special show. nevertheless

Jack once remarked about Fred Allen, "You look as if Santa

‘ v D" Clau' 0 id co wn your nose and left a bag under each eye." ‘..J

Many loyal fans of "Allen's Alley" miss Fred Allen's own brand of humor, but peeple still must put up with Jack

Benny's stinginess and violin.

Bob Hope of course is the beau ideal of a conceit ed young man who fancies himself devastating to th Opposite sex. The coma): v formula of Jack Benny is perha s more 'ubtl’c };lenny is a bit of a poseur, pl% tending to knowl~deo or social standing that is not his. Invariably he is expose as a fake. Benny is a feel but a loveable fool, the cons ant victim of his own huran idiosyncracies, a man who sepires to a deference his COll'uoUGu and the world withhold from him. When he thinks he is being utterly charming his wife will instruct him “Fix your toupee, Jack--it slipped." Whatever Jack Benny is or was, it was his own fault.

Jacl: Benny created himself of a lad born as Benny Kubelshy in waukegan, Illinois, on February 14, 189&. Ate youthfula ge, the boy was given two presents by his father a violin and a monkcywrench. The violin was for if he had talent; the monkeywrench for if he had not. U

As a young entertainer, he progressed with his violin from the vaudev “1 -e circuit to the "Great Lakes Naval Revue” in

World.war I. To eliminate confusion with Ben Bernie's

471;?) and "1", 131974-sz Til/IS 3113:}?! S ' p o 301 o Hai.on, ﬂpr‘risr", p. 155. ...- .4-.. Olin joki 11g, hen h. Eenny Lenny hubelshy) changed his name to Jack Benny.

Jack Benny must rank xiih Fred Allen as one of the great radio comedians. where P‘red Allen was a good cox1ed3r

yiyitcr, Jack was and is a good comedy o tog. He has a keen w.- ..— E54. sense of what is good for him in selection of content and delivery.

As the editor of my own material, I have always had an advantage. hy writer rs have always given me the best of material. It's easy when you only have to deal with good ma terial, piclziin; the bes t f'rom the best. 1 think I put toseth‘r a very good show, with the right tiszing and preper pacing. It's as an editor I have this sense of vaiat xiii. :crk and Wh8t10“'_. I make my decision based on which line or sketch or piece of miterial I will enjoy doing t1e mos t. If I’don't enjoy doing it, how can anyone enjoy he a.1ing it?*9

This is a good sound philosophy for any comedian. Jack

Benny proves it can work.

Jack Benny' 3 comedy revolved around reg; peeple in everyday situations; his audience could identify with the

Benny brand of comedy. Jack, however was careful about his humor.

Benny was one of the gentlest gentlemen in radio comedy, and one of the most successful ”Wrestrction can be funny, not pain. If it hurts, it isn't funny. 50

Is this why Jack is always thirty-nine?

If someone pulls a gag on me about my having false teeth, ninety—eight per cent of the audience who have false teeth will laugh. The other -wo per cent would, too, but their guns are still sore.

‘

u9£ob Talbert, "He Nay Look 39 and Stingy, But he's hot——Jus tAsk Any Cabbie," Qetreit tree Frags, April 16, 1972,

see. A, p. 15.

Z . . JOHarmon, goggdlddﬁ, Do 155. 51.1.1111. Perhaps we find Jack funny because there is a little

Jack Benny in all of us. if not, why do we chuckle when

Jack asks, "For how much?“ when asked to help a little old

lady across the street, or when he one day borrows a cup

from a Leighbor and the next day retur s it to have it filled

with sugar. host peeple would be too polite to do such

things, but they can vicariously laugh at themselves doing

such things.

The theme song of "The Fred Allen Show" was "Smile,

Darn Ya, Smile!" This is probably the sum of the purpose

of his efforts on "The Fred Allen Show" and "Town Hall

Tonight."

...Fred Allen's “Town Hall Tonight," the closest radio ever came to Sponsoring a sing.e genius of comic enterprise, since Allen wrote, acted in, and presided over a week-in, week—out program,year after year with unflagging invention and wit....J“ 5

Fred Allen is probably best known for “Allen's Alley."

-"Allen's Alley" was a democratic cross section of boobs as well as wiseacres. And Allen had a penchant for comic documentary ”interviews“ with nonentities: somebody who held the coat of a somebody who held the coat of a great men‘s retainer's secretary, or someone who stations himself overnight at Yankee Stadium to count the overnight crowd for this year's Opening game of the World Series, pitiful exceptionalisms that disastrouslv cut the ground from beleath sentimental democracy.5

Fred Allen had been doing jokes and sketches in his comedy-

variety shows since 1932, but he introduced "Allen's Alley"

:' w o v ’

"rs-mm.- - 5339.191. , p. 261 . 118 in 19%3, and gave himself probably his iggest success as a comedian. His major characters of Senator Claghern, hrs. Nussbaum, Titus Needy, and Ajax Cassidy followed him through his radio success. Allen's forte was wit a d wer s: a potent power of pleasing performance in the mouth of a skilled comedian craftsman. His jokes were relevant; he attacked the issues of the day from politics to poetry and New York subways to

California oranges ("California is a nice place to live-- if you're an orange"). He was a true wit, often seemingly creating jokes as his show progressed: "Benny couldn't .ad.l;b a belch at a Hungarian banquet...." When a few jokes fell flat in one show, Allen relied on a little boy in the first row of the radio studio audience, following a theory of some entertainers that if you get the first few rows of an audience, you've got the entire audience on your side.

Allen apparently noticed the little boy laughing at an

Openind joke, but noted to the entire audience that the boy missed a later joke. Immediately after another subsequent line failure, sharp Fred Allen spotted the boy giggling and before firing a quick salvaging joke, Fred blurted out, "Wait a minute, the little boy got that one!" or something to that effect. Also, the audience might have howled after another fizzled joke when Allen may have quipped, "As that one lone laugh gees ricocheting around the studio, we move to a selection by Al Goodman and his orchestra...." In this case we go to a script analysis of "The Jack Denny Show.” 119 Obviously, this script relies mainly on characte'

humor. To fully apprec ciate this script, the reader should be

fam' iliar with all characters involved, becat so the lines

themselves simplyr do not fully convey the character lquF. For exc nple, one n.ust1 vs at some time heard the funny,

“Yeseeees?” of Fraik helsen; funny due to the way he says

it~~his personality provides the humor, not necessarily th

line. Or one should have an idea who Den Wilson is; from

previous broadcasts listeners would know Don is rather corpulent (references to his size by words in scripts-~he wig fat, too), which explains why he demolished the violin

when he sat on it. Jack Benny, of course, is the main source

of character humor: stinginess, greed, jealousy, and always

thirty~nine. The entire "Allen's Alley“ segment is written

.as ciaracter humor. However, as in past scripts, other

elements of humor contribute to the character humor.

'The entire plot of the script uses the humor element

of complication. Early in the script, the subject of concern

is introduced--tr e Stradivarius violin. As his traditional

character and show format predict, Jack desires to play a

tune on his violin for the audience. The introduction of

this subject and ensuing conversation about it leads to the

humor of complication. Certainly, when he found out Don

supposedly broke his violin, 1e simply could have eXpressed

regret and gone on with his planned show. But Jack Benny

would not drop the subject. He made a big thing out of

something simple. Each discussion and character entrance 120

complicates the smashed violin accident more and more.

Eventually, the problem is resolved, and Jack has his violin.

Nevertheless, the show ends in a peeul ieu Q twist of anti-

climax humor, when Dennis Day re vea to de ck that his uncle i4

was not looking for a Stradivarius, but a rare cello.

The main example of the element of exaggeration is

Jack's story aliout how he got his Stra ivarius. Unless told

by Jack bonny, however, this element of exagg«ration might

not have been as effective as it was intended to be

Momentum is another element of humor used in this

script. The pace is usually the Speed of a normal everyday

conversation, but the timing of the entrance of characters

is a key to the mom enth. r‘er eitn,lc, Mary Livingstone

enters and makes a sly quip about Jack's age, when he

remarks that his Stradivarius was only as old as he_was. When

Den Wi].son informs Jack that he does not know who owns the

violin he found, Dennis Day makes his timely entrance.

Dennis sings a song, providing a bridge to a change of scenes

with Jack and Rochester searching for Dennis's uncle; the

timing itself is not humorous, but it contributes to

momen sum carrying ther elements of humor, such as the

character humor. Statement-ef-truth humor can also be found in this

script. hary Livingstone contributes a few tidbits of this humor: that Jack is really old and hp needs to be replaced, not h.is btiadivcr‘us° that Jack can't sing a no e; that it was

a shame Jack's uncles did not show any musical premise; and 121

that if Jack was not old and cantankerous, she was not hary

Livingstone. Dennis Day's clincher statement that his uncle

wanted a rare cello, of course, is statement of truth as

part of the humor of complication.

Verbal combat humor is usually not as strong in a

Jack Benny program, as in verbal combat between Jack

Denny and Fred Allen. Mild verbal combat erupts between

Jack and the police officer. Also, mild exchanges occur when Denny visits "Allen's Alley.“ Had Fred Allen appeared behind a door, another battle in a long feud of verbal combat would have been renewed. CHAPTER VII

MODERN COLEDY LRLUR ”CHISBWUS comm 13C sec-1113"

Program Length: Fifteen minutes

EUSIC: . ‘.--‘1 ANNOUHCER:Chiseler's Country Store...Starring Poul Lynda and

Don Knotts. Brought to you tonisht by..... _COITZ'E?'?T?CI..:".L (m manners), 171.510. Tier-<73: UP TO FULL,

fﬁTTIZVKY T} 7 '11:) n, ‘1 Y'Fﬁ $41”le [J;\I:___‘,! 1354:) ‘II‘J+..

3'1."_

SOIE‘FD: cmsim .A'PFf'OEIPFIFT??? scams 0" PTT‘DS (Interim mm

goes AND when AIS-O Itﬂlif'T-‘LTﬂ‘ICv.

AIENOUNCER: This is Chisc ler's Country Store in Hocking Hollow, Ohio. Snidely G. Chiseler, the store owner, and

his old bloodhound, Ulysses, have just moved into

this quiet, friendly little community to start a

new life. We find Snidely putting up his Sign

on the front of the store....

H :1 MP??? II‘IG STOPS .

SNIDELY: Whew: I hate this kind of work, Ulysses. It

takes so much out of me. Besides, I hate this

sunshine in the summer like this. Everything is

so blasted cheerful. The bi1ds are singing, the

122 123

Icy is alter, the air is 1.1,.1...I hate it. I 5‘}

wish I was be ch in Ks u Kerk. It was so di m: 1 an [49

miserable and polluted .nd foggy e.nd, mercy, it

was...my {ind of town Hoh-hehl

we shouldave stayed there, Ulysses. You know,

we had a decent life tizore...The night clubs, the

parties 0, the dancing, the rests wur and best

of all, I was unerwal N'ed. It was just too bad

that Uncle George found me a job out here. You'd

think he did it on purpose. He must love to see

me suffer like this. W rk, how terrible!

Well, Ul ys ses, the sign's up new. I'll just

sweep off the front porch here a bit and....

ISLE-EBB. : Chiseler's Country Store... SNIDELX: Ya, sure is, and...1s is said thct? You haven't learned to talk have you, UlyssesTI

ELHER: Oh, excuse me. I’m back here admiring your

Sign.

SNIDELY: Admiring, eh? whatﬁs so good about it? Haven't

you ever seen a sign before?

ELHER: Well, ya. Of course I have. I we just readin'

out loud. Are you Mr. Chiseler?

N? ies, they call me that. What about it?

Well, my name's Elmer Jumper. I live here in

Hocking Hollow!

SIIIDELY: (Aside) Hha t a pity.

ELHER: Pardon me? 1 2:1;

SNIDELH: I 38:1;1' ‘31::L Lo {.5 3 1:16: Ci ty LPG-Ll 31‘3”; '2) 1’36? 150 o

ELﬁEB: h \hnrfi.u” you,'Lnircvsu...(Ll‘18)...He're

I «t . reel priudc of it. la. a o JD.SB a reel CLO xu-to-cer‘ (Laughs)

Mr. Chiselor, how long have ya been here?

Too long.

Pardon me?

SIJIDEJI: Er...3ust drove in last night. Been working to

get ready to o,en since last night. This is my

first ti he outsi do here in dsylig at. Last night? Why, it's no wonder I haven't seen

you before. I uSuelly walk 1p and down this

street st least to ice a day.

SNIDELY: (Asid e!) low sad. sums : Yep...st least twice a day up and down old Main Street here (lsughs)...yep...good old Main Street.

Not a nicer street anywhere. No sir. Wouldn't

you say so, Mr. Chiseler?

SNIDFJ.v ' I. 0h, absolutely. There's nothing like it...anywhere.

Absolutely...nothing like it.

(Laughs) Ya...Yessiree! Old Hocking Hollow.

Nestled in the valley of the Hooking Hills. Real

flat here. Nice small farm town. Reel nice small

town we've got. Reel friendly.

SNIDET My (ASiiG) How terrible. Isp...rea1 frienilv. Eon, hr. Chisele“, take

just a minute from your sweeping there and just

step out here in the street aha take a look up

loin Street. Now, vou‘re bein9 on the far end of

the row of stores here on this siae of the street...

Just look up the street and tell me what you see...

Hell?

SNIDELY: Nothing.

ELssB: What?

SNIDELI: A‘solutely nothing. Now leave me alone. I‘ve got

work to do here.

ELMER : Oh, now Mr. Chiseler! Mr. hiseler! Now come

back here and take a 33:; 53;; look up this street.

Stand farther out here and look.

SNIDELY: Oh, all right, but I'll scream if I don't see the

Washington Monument, iontioello, end the

Taj Mahal.

ELEER: Iep...that's it...stand right here now and look.

Whadya see? -

SNIDELY: Oh, I'm gonna cry, I'm gonna cry! Why did I

leave New York, oh why? This is my punishment for

being an honest to goodness full-blooded American

unemployed! (Sobs) I want my welfare back! Please!

Oh, what a cruel fate, owner of 3 country store in Nowhere, U.S.A.l (Sobs)

Oh, now, Mr. Chiseler: Mr. Chiseler! Don't cry...

I know you must be homesick, but you'll like it here. This 13 Hockiﬂs H0110”. a iaignil: place to live. Sh IDSIJ: (Cries lGUrlnr)

ELIZR New wy your roars, Ir. Dr" your

tears new, and look at this to“n. Ion just

goin‘ up your side of the strcet, r: ght neg i

your store is an old he st-up vac: nt bxil.ding...

where the old g~ange hell used to be. so IDE LY : Used to be? smite : Yep. They moved into a new building across the

street.

SNIDELY: Which one is that?

ELEEB: Oh, well do you see that little perk-like plaee

with he broken bench and the rooster sittin' on

the ca nnon next to the big pieeo of granite rock?

SNIDELX: How could I miss it?

ELI iEB: Well, now, the building just 231$ of that, is the

new grunge hell!

SNIDELY: You mean the one with the "NBA? and I'Keep Cool with Cal“ banners in the window?

ELHEB: Nope. That half of the building is the Hocking

Valley Gazette office. The half just west of it

is the Grange Hall.

SNIDELY: on, I would never have known if you hadn't told

me, Elmer. Really, I wouldn't. Ian-use: Well, now, I can see how it would be difficult

for a stranger. See the “R" and the "N" and the “E" are miss in' from the sign. You see, Charlie

Nutter is the Building QUQLVin endont, but he just

12?

never got around to roplecin' those letters.

(Laughs) I suppose the 813:1 looks kind of

peculiar to you, hr. Chiseler.

SNIDELY: No, Elmer. It doesn’t surp r15 6 me in the least...

really, it doesn't.

ELBIER: Well see? You'll gs t accustomed to this town

sooner or later!

SNIDELY: Oh mercy, I hope not! Oh, Mother Chiseler, a

Gag Hall. I feel like it, I really do.

ELHEB: Now, look back over on your side of the street,

Mr. Chiseler. You're on the gggg side of the

street.

SNIDELY: How lucky can I get? I'm on the corner of Main

Street on the good Side.

ELMEB: Ye boy! I'll say! You see all the perlcing places

in town are on your side OI the street. City

Council only allows it on one side of the street

be o’euse of the trs ffic on.Seturdiys, you kno ow.

SNIDELY: Oh, I see. One side of the street because of

heavy traffic on Saturdays.

Oh ya. Saturdays are big d: my; for all the stores

Street here.

SNIDE LY:

ELﬁEB: 1'19 lee {arms f. . A .. s lon W.’ aA up all

cars one pick-up

trucks and arise into town. Ye. It“s a big day

for the * hole family. The kiﬂs love it. (Llcsas) 1(4'. C)

Ye. Children.

How terrible!

EL? 71'” 0 ‘6 Ll¢al 0 on, ﬁr. Ohio elor. These

SN I DELY: I'll bet they are.

p3 LMLR Why, these or .‘U-r-I’

SNIDELX: Poor kias. Never bed a chenoe.'

Why, look at m3! I'm a product of Hooking Valley! tr!» LMER: snIDELI: I would never have gueeeea, Elmer.

ELﬁER: Well, now like I was sebwi g, you've got a greet

place for your store here, Mr. Chieeler, with the

parking Spaces on your siae of the street.

SNIDELX: Oh, I aidn' t realize it would make tliat much

difference.

ELﬁEB: Well, maybe not a whole lot, but still, if they

pull their cars in to park, they're bound to

see your store.

SNIDEIX' Why, you're reel observant there, Elmer. But

tell me...why aren't the people shopping along Hein Street now? The town looks deserted all

up and devrn the street. Or does everyone wait

until after dark to swing around here?

EUEEB 3 Swing? Swing what? A but eball be t? The Little

League plays every Monday and Weoneodoy nights in the... 129

so, no, Elmer. I mean why aren't there any cars

parked along the street new?

Oh...well...this is Sunﬂay morning, you know...

and well...you know.

SI‘JIDEL‘I: You don‘t mean the stores are closed on Sunday?

ELMEH: Why, of course. It's Sunday. I

SNIDBL': They stay closed...all day?

Well, why sure, why not?

SNIDELY: Oh, I get it. All tuckered out after a big

night on the town on.Saturday nights. How many

night clubs ya got here, Elmer?

”I? o ELIHL o What's a night club?

SNIDELY: Elmer, you don't have any night clubs here?

ELHER: well...ﬂary Jenkins has a Social Club meeting

on Tuesday nights in her house. Sometimes she

alternates with Mrs. Baker when Mary has relatives

in for supper or something. You know how it is.

SNIDELY: Yes, yes. I believe I do. Well, hen what about

your bare and taverns? How many?

ELHEE: Why, none, hr. Chiseler. This is a dry town.

And a peaceful one, too, I'll have you know.

SNIDELY: Yes. It's peaceful all right. But is it alive,

is what I'm worried about. No night clubs, no

taverns, no bars...Elmer, what do pe0ple around here

do for entertainment? walk down hain.Street for

a few laughs?

Oh, shuoks no, Mr. Chiselor. Why, Hooking Hollow

is the entertainment center of this areat 130

O.K., Elmer. Let‘s hear it. I as n hm d.1y wait.

What have you get... In noylamd, the Ast.cdone,

Narinclanﬂ of the hidsest and what else?

anon: Nope. Be ter than that.

' 311191.335: Oh mercy! The Frenol Riviera .1

sums: Now you take Honday nights...

NIDELY: Terrific! Every night's a winner I'll bet...

EUR-JR: Now on Monday n ghts, they have all of the Scout

meetings over at the church on Cherry Bottom

Road out east of town...

SNIDELY: O.K., let me write all of this down here, Elmer.

Scout meetings...honday nights...boys or girls,

Elmer? .

ELEER: Both.

SNIDELY: 0 .K.,...no sex dwsoiitination...and.vaat's the

address?

ELMEB: Well, let‘s see now. You go out east on Main

Street until you reach the railroad tracks...

SNIDELY: East to railroad tracks...

EIMER: Then turn right down the gravel road out past the

grain elevator and go...oh...about a mile less a

stone's throw...

SNID? SLY: ...right on gravel road at grainy escalator and

watch out for kids throwing stones_for miles

along the road...

ELHER: Then take a hard left across the tracks, but watch

out for the tracks 'oause thc re's no grade

crossing. 00 real slow unless you walk. SNIEELY Hard left host to the jaw of kid who hits you

with a stone; een' eve tleeLs unless you well:, {:1 w

otherwise go rc331 slow.

ISILIiIin: Then follow this airt road out test Blake Sunmer 3'

big barn with the tobeeeo s’gn on it and turn

right down that road on the other siae of it...

and watch out for his cattle 'cause his fence

is down along there.

SN I DE LY Follow tobacco leaves on road to big barn with

dirty Sign on it, turn right and watch out for

wild buffalo hexd on stampede.

Then.ell you have to do is go another three miles

past the city dump and pest Herbie Slatter's

place to the coverea bridge, cross it and turn

left, 811*, presto! You‘re.there in.no time at all!

SN IDELY Then, another three miles, but watch out for

Herbie's place-«it's a durnp...cross the bridge

when you con*.e to it, turn left, an& Splash! You

turned too soon...and you're wet in_no time at all... O.K., Elmer.‘ Got it.

EIMEB: Now, on Tuesday nights, its the International

Order of Odd.Fellows Meeting in the Grange Hall.

SNIDELI: Extraordineries on Tuesday nights in the Gag

Hall...O.K....

EL :11:;: Ya...and on.wedr nesdey nig llte its the Fraternal

Order of the Eagles in the o? ok of Carl Bewaras'

Hardware... 132

SNIDELI: The Be glee ily in the. ..i. k1re on Wootczo y

nights...O.K.

ELAER: And Thursday nights are Legion nights in the

Legion Hall.

SNIDELY: French Foreign Legion recruits on Thursday nights

at local post...0.K.

ELMEB: And on Friday nights and Saturday nights,

anything goes!

SNIDELY: Went to be a little bit more Specific there,

Elmer?

ELEEB: Well...

SNIDELY: Oh, come on, Elmer, e5.mit it.

ELHEB; Well, 0.K....Ioe Green Socials, Spaghetti

Suppers, Pot Luck Suppers, Firemen's Ball,

Barn Dances, Corn Festivals, and lemily Reunions.

SNIDELY: You're kidding.

Ewen: You mean you didn't have any of these back in

New York, Mr. Chiseler?

SNIDELL: No, not that I recall, Elmer.

EINER: Oh, you poor soul! why, you just haven't liyed

until you go to one. Absolutely haven't enjoyed

life at all. Not one bit. No sir. suxost‘: Oh, Elmer, is it too late? Am I too old already?

ELMER: (Laughs) Why no, of course not.

SNIDELX: How lucky can I get? On the good side of Main

Street and yet there's more. 133

ELHEE: Why, NP. Chiseler, my *uess is that you°ve Eat

a good many of these that on can attend from ‘4 now on.

SNIDELY: (Aside) I hope not.

ELHEE: What's that?

SNIDELY: Oh~..(leughs)...l hepe I have many to look

forward to. '

ELNER: Oh, ya. Indeed you will.

SNIDELY: Yes...well, if you'll excuse me, Elmer, I've

got to get back to work here. And besides, we're

standing in the middle of Main Street. We might

get run over by a horse or something.

ELHEB: No. Not likely today. Usually any other day,

though.

SNIDELY: What, run over? .

ELMER: Well, not likely, but Jake Thurston rides his

surrey in about any other day.

SNIDELY: What is this surrey bit, a campy new electric

car or something?

ELMER: Oh, no. It's an old-fashioned surrey--a

carriage. Lulubelle brings him. I SNIDELY: on, he can't drive?

ELHEB: No, Lulubelle's a horse.

SNIDELI: Why, Elmer. I didn‘t think you were the type to

Call people names like that. Really, she can't

be all that bod, even if she gags drive. smun: No! You don‘t understand. She really is a horse. ...-I." 13%

SNIDELX: I get the message, but don't rub it in, Elmer.

She conit be all that bad.

ELHER : No. It's a.hrreg-druun surrey. Lulubelle's

the torso. SNIDELY: Why, whet e novel idea. A horse-drawn carriage.

Very ecologically minded, this Jake must be.

However, I shudder at the thought of peeple in

New York going that direction. ‘ESpecially at

rush hour. And the parking...Meroyl

Elﬁ?B: 'Oh, Jake is just a swell fellow, for sure. Just

like all of the rest of the townfolk.

SNIDELY: I'm beginning to see a pottern here.

ELHER: Yep, hr. hiseler, you are just going to really

like it here. I 2393 you will!

SNIDELY: Well, as Fiorello said, patience and fortitude.

ELHEB: That's the spirit! (Laughs) You'll do just fine!

SNIDELY: Thanks, Elmer. Now, excuse me, I've got a lot

of work to do here. So long.

ELMER: Wait a minute, Mr. Chiseler.

SNIDELY: What is it, Elmer. Did I miss something on

Main Street? You know I really don't have time

for the deluxe tour right now, I really don't.

ELNER: Oh, no. I can show you the rest of the town

later. But what I was wondering... NIDELI: Yes, Elmer? If it's that Scout meeting, not

tomorrow, anyway, please... 13.5 ELBER: No, no, no. Not that. I wes...uh...just

wondering if, you know, you could use some help

in your store here. I can do a fair amount of

work and... SNIDELY: You went a job, Elmer? In my store? _

ELNER: Well...I really like to work and I'm reliable...

SNIDELY: You mean this town has unemployment? Hocking

Hollow has unemployment? ﬁercy! What's the

world coming to?

ELMEB: Oh no, no, no hr. Chiselerl Hocking Hollow

doesn't have unemployment. SNIDELY: Well then, Elmer, what's your job?

EINER: Well, I'm the deputy sheriff here in Hooking Hollow.

SNIDELY: Deputy sheriff? Where's your badge, Elmer?

ELhEH: Oh, well, I carry it in my shirt pocket. You

see, when I wear it, I keep catching my shirt

sleeve on it when I blow my nose. Hay fever,

you know. But otherwise, as you can see, I wear

this ten uniform. SNIDELY: Well, I understand, Elmer. You picked a great

place for hey fever. But if I hire you, what will

your boss say? The sheriff here 13 your boss,

isn't he?

ELMER:- Oh ya, sure he is. Yep. Sheriff Riley. Preston Riley. Yep. Just a reel greet guy.

SNIDELY: But don't you have to stay on the job in your

office, Elmer? 136

\I.‘ W‘? o £13-32... 4i. . Noll, sometimes. We dorﬁ t he"e all that much

trouble here, you see. Reel peaceful. We're

here just in case, you know. Besldes, my job is

to L.Lgle with the po ople here 8 llﬂ let 'em know

the low is here!

'1.

SNID E Well, from the looks of you, Elmer, that last :4

statemeixt 1Mou d be debe.eble. Ethos: Now just watch yourself there, Mr. Chiseler.

I can be real mean and tough when I have to! Don‘t you underestimate me! Why, if I'm called

upon to enforce the law, I'm the roughest,

toughest...

SNIDEL . Cool it, lBlm3r . I get tile picture in patriotic

colors. Your face is turning red, white, and

blue. ELMEB: well, do I get the job?!

SNIDELY: O.K., Elmer. You get the job._

ELHER: I do?! Hey, that's great! When do I start?

SNIDELY: Well, you come in tomorrow, Elmer. That's

soon enough for you.

ELHER: Gee, thanks, hr. Chiselerl (Off nlke) 'I'm goin'

home and Spread the good news! SNIDELY: Well, Ulysses, whadya think? Ye...thet's what I'm

thinking, too. Well, here we are enyuey. Yep.

Hooking Hollow...meroy!

ﬁQSIC: FADE IN CHIFRI£R°S TPEEE_UP T0 FUELL TVFN U'“rR

Fen All. 1} gyrvprn TC“ T 'f‘ n,»)?ifﬁ'a;\p{1T/!L'il (5‘0 5." Isa-37')" “(1.1 ..~ -_"xr”' “up ..‘Il: .1...- \_ <‘\> o ' .— nunu". 137

S( at": 7‘3“ ,5 'f:f":1'f”f‘§fl ...... i- as; ”—21-4;Qafsfifi'4‘fi “ $3..

“Chiselor's Country Store“ is purposely written to derive its humor from character humor alone. The decision to use only oh:.1o;oter htu- or in this script stems from a nun er of reasons. irs , chzr actor humor has a strong record of success, as evident in the popularity of comedians like Jack Benny, Edgar Bergen, and Lum and Abner. Second, character humor lids mass appeal and usually will not offend any one segment of the audience (as it is used here), as opposed to risks of a program of telling Jokes. Third, character humor is slower to develOp audience acceptance than so-ce lle d gsg hue or (tolling jcd zes), but has greater potential and endurance when accepted by a loyal audience.

"Chiseler's Country Store" is a new radio comedy program. The character humor of Snidoly Chiseler purposely violates almost all standard rules of humor etiquette. Chiseler's humor is mean, brash, cynical, ugly, and hypocritical. In short, Chiseler is a negative character.

His negative humor would shock Fanny Brice, Al Jolson, Jack

Benny, or Eddie Cantor, who would not support humor that hurt anyone. Chiseler's humor, however, only seems to hurt E1323, not the audience. But Elmer Jumper is good—natured and can take the bitter replies of Chiseler. Today, a new radio comedy program must be different to succeed, although not necessarily in this negative h umor style. 1323

T he o‘ program has potential. There is‘ccntrcst between the rather sinister Chiseler and the innocent, polite, friendly Elmer Jumper. This script establishes the situation of potential conflict between Chiseler and

Elmer and his whole beloved town. The script dictates that

Chiseler is stuck in the town; he hates it already, and he appears to be doomed to suffer friendly, sincere people like Elmer. Also, with the setting of a store, Chiseler is bound to meet more residents of Hocking Hollow, which provides opportunities for the introduction of many new characters and problems-~pctential plots involving more character humor. This script may not be accepted by a radio station, perhaps because it just is not funny enough. How- ever, good character humor requires time and exposure to an audiezce to build a loyal group of listeners. The program series would improve like a fine wine with age. CHAPPER VIII

MOD3BN COW 3DY DRAEA

”T}IE NEW TEXPS RAIJCERS

Proeram Leneth: Fifteen minutes b (3

MUS IO: FADE IN THERE UP TO FULL._THFN UNDER FOR:

ANNOUNCER :From out of the pa set, from the days of yesterday

when the west was wild and Texas was young come

the New Texas R'ngers of the twentieth century! THFhE UP TO FULLL_w3§1_rxrtaz

Join us now for the thrilling new adventures of

the New West withB ngc r Frank Merge n and his

wise old companion, Ranger Amos Brown, as they

cross the blazing hig r.ze'ays and freeways of Tom

as...The New Texas Rangers!

THEME UP TO FULLLpTHEN U"EPP FOR C’WM RCIAL L69 messes ) 3, mm:

SOUND: INSIDE OF CAB CRUISING ON HIGHWAY.

VOICE: Calling 8X 21W,38X ZEN. Come in, please. MORGAN: ...BX 2TH here, come in.

VOICE: Report to headquarters immediately for assignment.

MOP G.MI: Roger dodger, HQ. I'm on my way.

SOUND} C53 QUICKLY PICVIKG UP SPEED.

139 11:0

1': C’lLU‘L 1: hmmm. Wonder what it is this time? I ;:yUJ I'll

run an errand for the boss again. Lest ni:- ht it

was groceries, the night b~fore it: v.'es taking

his do 3 to the vet. This is really becoming a

drag. Nobody needs he New Texee Bangers anymore.

We're obsolete. No more cowboys and Indians.

Just the usual city crime. Ah, for those glorious

days of yesteryear when a Texas Ranger would go

for miles on his horse to catch he bad guys.

Sigh...not any more.

SOIND CAR FUELING IN TO A STOP. C R_ PC“? OP"‘S. CLOSES.

EOOTSTEPS. A"Om'““ EC‘“ CTP"S CT QSES.

MORGAN: Well, Frank, what is it t1ﬁ.s time°

FRANK: I don't know. The boss wants to see you in his

office. He says it's important. MORGAN: I'll bet. Well, I'll see

SOUND: THO KNOCKS. OFF NIL@. ”CORE IH. " EQOR OPENS.

BOSS: 0h, hello, nor gen. Come in, please. I want to

have you meet your new partner, hr. Amos Brown. BROWI: Hiya, bud! How's it goin'?

MORGAN: Huh? Oh, ya, how do you do? BROWN: Oh, I'm fine. my dog here, Andrew Roosevelt

Johnson, is fine, too._ Shake hands with Mr. Morgan,

Andy...thet's it. He's a reel smart dog. Real

friendly. But he can be mean, too. Terrible mean.

Why, on my last... 1M1 Uh, maybe some other time, Hr. Brown. Since you

two will be on your first assignment right away,

why don‘t you go out in the petrol car and wait

for Frank. He'll be out shortly. I just went to

have a few words with him in private.

1311(3141I': Oh sure, sure. Go right ahead. Andy and I'll go

out and wait in the patrol car. Ye, won't we, Andy?

Ya...see. He shook his head. He's a reel smart

dog, he is. Come on; let's go.

SOUND: DQOR CLOSES.

MORGAN: I don‘t get it. That guy's old enough to be my grandfather...what gives? We canlt be that

deeperete, can we? }

BOSS: Nell, Frank. It's a new ruling passed down from

higher up. t goes along with the new Banger

policy of no discrimination because of old age.

MORGAN: What? .

BOSS: That's right. It's in the wind across the nation.

It's bound to become a law sooner or later, so

the New Texas Rangers will incorporate it into Ranger policy now-«kind of a public relations prestige point, you know. '

MORGAN: I can't believe it. Why, how will this guy keep

up? These old people are so sickly and weak. Why, he'll break down, get tired easily, or even

worse become seriously ill on the job. 11:2

BOSS: You're wrong, Frank. Icu underestimate the older

generation. ‘hey're e teugh lot, even though the~

don't appear to be so on the surface. Reel strong

cherecter,=lihe solid steel. They've been through

a lot in their lives, hese senior citizens. But

it's made them strong end wise-«reel tough. If

we can use their wisdom, like we went to with Amos, shy, think what it will do for people his

age across the nation. A new spirit of hOpeI

And Frank, this country needs that now.

EOBGAN: Ya, but...

BOSS: Don't worry about Amos. He's been a policeman

all of his life. He knows this business better

than any of us.

K O R G‘AAIQ : But the New Texas Rangers aren't...

BOSS: Don't worry. As of today, we're taking a new

course. A more active role in this area. We'll

go from town to town by teams of two like you and

Amos; going wherever the New Texas Rangers are

needed. Our job is to help the local authorities

in a new war on crime. The New Texas Rangers

will do their Job.

MORGAN: lut Amos is so old, why...

BOSS: He's young at heart, Frank, and acts it. That's what counts. Oh sure, he takes his medicine and

has peculiarities, but he's a wise man, Morgen. You'll be surprised how nuch_you'll learn just

working with him. 1&3 And tne deg?

They've been working as a team, Fisnk. The

dog is his enforcer. Amos doesn 't carry a gun. He just has Andy, his dog. Den't worry, Frank.

You'll like them bot}.

MORGAN: Well; I hope you know what you're doing.

8058: Just do your job, Frank. We're doing ours.

Now, here's your first tee m assignment. You are

to go to Galveston to look for a small but power-

ful smuggling ring. It's a big job and may take

you a long time working on it, but it will lessen

the burden on the local police. Good luck,

Fr ank. We'll be checking with you from time to

time. IHOlG1d0.K., boss. 50 long. I hope this works out. Bess: It will, Frank. It will. , MUSI.- BRIDGE assures sonata.

SOUND: onesxro seven on can AT CRUISIFG sagas.

BROWN: Yes sir, I'm really glad to be back on the job

again. Really makes me feel good. Do you know

what I mean,=Frank?

MORGAN: Oh ya, sure. Always nice to have a job.

BROWN: Ya. That's what I say, too. Work and be happy.

Of course, that doesn't mean you Qhave to work to

Le happi. Now, you take yourself, for example.

Do you think driving this car to Galveston is work? 1 1::

“7 “Y3"? _‘t." o I} ilbf.“ o Well,'why wouldn't it be? I'm sure not doing it

for fun, and I'm being paid for it.

BEECH N : That's what I mean and...ﬂndy Rooseveltl...quit

licking Frank's neck:

MORGAN : Oh that's O.K., Amos. It keeps me awake. Just so

he stays in the back seat is all I care.

BRONX 42—. Well, he's a good police dog. He just gets O.

playful and friendly at times, that's all. I guess

all dogs are like that.

MORGAN: Ya...I guess so.

BR 014 N : Now, where was I? Oh ya. Now, what about race

drivers? Now they drive for a living, but I

don't know too many that think that driving in

an auto race is not fun...they like it, or they

wouldn't do it.

MOBGON: Really.

EROHN: Ya; sure. But like I say, you don't need to

work to be happy. Now take Andy Roosevelt there.

Now he is doing a variety of things as a dog

riding in the back seat of a police car, and he

is happy.

MORGAN: Well, I wouldn't know.

BROWN: Well, now just look at 01' Andy sitting there

looking out the window. MOBG$ No, I can't. ‘Got to watch the road. 1&5

£10331! : No, no. I seen :13. watch him. Hour,- it being

dork outside, you would think he wouldn’t be

t 0 0 interested in what's going on. Not Andy. He's reel smart, because hoes watching out the

window of the ear in the back seat there.

HOE GAN S Check again. I think he‘s licking my neck.

Oh, ya. So he is now. iell,-you see, he's got

to take a break new and thens Doesn't want to

strain.his mind thinking too much. MORGAN : Oh, I take it he‘s thinking, then?

seem: : Well, that would be my estimation. You see, he's

a smart dog.

HORGAN : Why is that?

BROWN 2 Well, I think I know what he's thinking about.

MORGAN 3 You do?

BECK-1N : Ya. I think he's thinking about what I'm thinking.

MOBGAH3' You think he's thinking about what you’re thinking?

shown: Ia. That's what I think.

MORGAN : Know what I think?

BROﬂN: No, what do you think?

MOB GAN : I think you're both wrong.

BROWN : About what?

MORGAN: I think you're both thinking wrong. BROWN: How’s that?

MORGAN : I think that you: re thinking about what he's

thinking about your thinking about his thinking. 1%

B1201“: N : Wait a minute. You mean ycuire thinking that I‘m

thinking about what he?s thinking about my

thinking about his thinking?

MORGAN: Right.

ROWE-3 : You know what I think?

MORGAN: I'm afraid to ask.

BROWN: Go ahead. It won't hurt.

MORGAN: O.K., what do you think?

BBOHN: I think we’re all thinking too much.

MORGAN: You think so?

BROWN: Watch it now, I feel the boat shaking.

MORGAN: O.K., let's drop the whole thing.

BEIGE-IN : Good. I like it that way. No sense in getting

all buffed up about nothing. No sir. Not at all. Why, just look at Andy back there...I mean

imagine him back there, Frank. He's watching out

the back window. Watching all of the traffic on

the freeway here.

MORGAN : Well, I always say four eyes are better than two.

BROWN: Ya. And.Andy's back there doing something.

MORGAN: Oh no! I hepe not! I just had this car cleaned

inside and out:

BROWN: No, no. I mean he's doing something with his

MORGAN: Just so it isn’t anything else, is all I care.

BECK“: N 3 Yes sir. Andy is thinking.

MORGAN: Uh~ h. Here we go again. 147

BROWN : lessiree. Thinking about smuggled goods.

MORGAN : VI here ?

BROWN: Oh, I would imagine in sons of these trucks

we've been passing.

'MORGAN: Are you sure?

BROWN: Well, I think so.

MORGAN: Watch it.

BROWN: Oh, now look. 01d Andy takes a good look at

these trucks we pass. He knows smuggled goods

would more than likely be hauled in trucks.

MORGAN : Possibly. But the trucks we pass going our-way would be going to Galveston, not £323 it. Any

trucks with contraband would probably be lggyggg

Galveston, not going to it.

snow N : Well, now, don't you underestimate old.Andy.

MORGAN: How could I, he's a thinking dog's dog. BROWN: Now Andy knows all the facts, see. He realizes

that trucks leaving Galveston would be more likely

to have contraband than ones going into

Galveston.

MORGAN: Check. Smart dog.

BROWN : However,...

MORGAN : I knew this was coming.

BROW N : However, Andrew Roosevelt Johnson goes one step

further.

EORGAN: If he does, he'll be on my lap, now get off,

you mutt! 11:18

Well, he's just being friendly. New, like I was

saying...Andy realises that some of the trucks

we pass on this side of the road may be going

to Galveston.

MORGAN: Good reasoning there, Andy.

BROWN: And he knows that one of them may be going to

Galveston to pick up a load of contraband.

MORGAN: But how can he tell which one would be likely to

be going to Galveston to pick up contraband?

BROWN: He looks the drivers in the eye as we pass. Haven't

you been watching him?

MORGAN: No, I've been keeping my eyes on the road. This

car doesn't steer itself, you know.

BROWN: Well, he does it. I've been watching him.

MORGAN: Well, just how does he know so well?

BROWN: Oh, he's been around for a good number of years

now. And he's seen many a truck driver and what

they're like.

MORGAN: Well, he's licked enough of my neck so far...

you'd think he were going to taste me next.

BROWN: Oh, Andy's a good dog.

MORGAN: O.K., now just how does he know a truck driver is

about to pick up a shipment of contraband?

BROWN: Well, as you know, it doesn't take a whole lot of time to pass a truck.

MORGAN: Check.

BROWN: But it does take some time to approach it and

go beyond it. 11:9

MORGAN: Two checks.

BROW N : Now, Andy, he watches how that truck is going

along the road. He can tell by the way the

driver steers it as we approach it, what kind

of a driver he is.

MORGAN: You mean echrience in driving?

BROWN: Right. He knows a real steady fellow will be

more than likely be an O.K. driver. But if he's

a little nervous, Andy picks up a clue and gets

suSpicious. ‘

MORGAN: I see.

BROWN: Ya...And then when we pass the truck so he can

look in the window at the driver, he makes his

second obser'ation.

MORGAN: O.K., and what's that?

BROWN: Well, if the guy smiles at Andy and looks confident

and steady, he's probably O.K.

MORGAN: What if he doesn't smile or doesn't look steady?

He still may be 0.K.

BROWN: That's where Andy's instinct comes in. He can

tell. Just by looking at the eyes. It's his

review check. MORGAN: 0.K., then is that all?

BROWN: Nope. He gets his third check as we go on pagt

the truck. He watches the driver's reaction after

we pass him. If he wipes his forehead or gives a

sigh of relief, Andy really gets suSpicious. 150 l‘iORGﬁN : But there are always except one to all of those.

How does...

BROh‘ N : Instinct. Pure instinct.

MORGAN: Well, what good will all his suspicions do us,

Amos? Here we are driv1ng along and.Andy sees a

suSpect, but he can't tell us anything. What will he do, bark or something?

BROWN: Nope. Andy, he's quiet about the whole thing.

He doesn't jump to conclusions.

MORGAN: He'd better not do any jumping in this car, that's

for sure.

BROWN: (Laughs) No, he won't. Andy'll just wait until

the right time. He remembers all of the suspicious

drivers that we pass. Remembers their faces and

their trucks. Then, if we ever see one of these

fellows in person, Andy will practice his last

but surest test of a suSpect.

MORGAN: What' 8 that? '

BROWN: He'll sniff him.

MORGAN: O.K., but doesn't his system break down sometimes?

BROWN: Ya. Whenever we pass a meat truck, everything breaks down! (Laughs)

MORGAN: Say, Amos. How is it that you know so much about

dogs?

BRON why...I'm a New Texas Ranger:

FADE? IN .CIITZIIR, UP TO FLI'T..T.., THEN UNDRR FOR: 151

A NN OUR Chili : Tune in again next week for ”The New Texas

Raigcrs,“ as they drive across the West in a

never ending struggle against crime:

FILE??? UP TWINE T FUEJ... THEE;ZL_I,REDRR [JED OUT _FOR_

MUSIC: 0 FINAL cot‘331i31rzCIJinJ6-0 trends;

15- U)

022121.339...~ I £1.41:

“The New Texas Rangers," intended as a radio comedy

script for current use, depends on character humor. Frank

. Morgan and Amos Brown provide a more subtle, quiet humor

than that in "Chiseler's Country Store;" however, it also

is to appeal to a general audience. Frank Morgan, the

first character introduced in the script, plays the straight

man: he Operates on a low energy level, is an efficient

officer, and has a subtle sense of humor. In contrast

Amos Brown plays the comic: he is old but Spry, energetic,

vocal, and honestly funny. These two characters are the

core of this script and of any future series from this

program. The main elements of humor, besides character

humor in this script are literalism, complication, exagger-

ation, statement of truth, the obvious, and momentum.

The conversation of Frank Morgan and.Amos Brown

in the patrol car uses literalism humor.‘ For example,

Amos says to look at Andy looking out the window. Amos did

not mean for Frank to turn around and look; Amos was actually talking out loud to himself. When.Amos remarks, FAnd.Andy's

back there doing something, ”Frank cries out in dismay,

thinking the dog is making a mess in the back seat. Amos meant the dog was just thinking in the back seat.

‘ The element of humor of complication comes in one

portion of the patrol car conversation between Frank and

Amos. Amos makes an apparently harmless statement: “Hell,

I think I know what he's thinking about." Then, Frank 153 gives him a standard, subtle cue by saying, “You do.” What follows, due to Frank's thinking he can out do Amos talking about nothing, is a simple statement being made unnecessarily complex. As the conversation progresses, Frank concludes that he is no match for Amos in nonsense chatter.

tatement of truth, a little exaggeration, and the obvious combine to, again, provide subtle humor. For example, when Andy shakes Frank's hand.. It did happen and it was rather obvious (in the audience's mind), but it was a little exaggerated. In the car Andy is described in the conversation as licking Frank's neck and almost jumping into the front seat. Andy actually doing these things and the visualization of a large dog trying to jump into the front seat of a car are funny. In contrast, Ulysses, in

"Chiseler's Country Store," did not significantly contribute to obvious humor. Amos describing Andy's technique of watching for trucks involved in contraband is a bit of exaggerated humor.

Momentum contrast is the key humor element in this script. Frank Morgan's lines are rather slow and lethargic, contrasted to Amos Brown's energetic, wordy lines. The quickened tempo of the lines when Frank gets a little annoyed at Andy licking his neck, or in the segment on thinking what Andy thinks, are examples of humor of momentum. As in the “Chiseler Country Store" script, "The

New Texas Rangers" relies on a general audience appeal. The subject of different, modern police is currently popular on television. with a theme of helping local police, 15!}.

"T‘s New Texas Rangers" has the potential of being a kind of modern comedy drama with a plot similar to that of

“The lone Ranger." A variety of settings, characters, and situations are possible. Amos would be the hero of senior citizens~-his age is hinted but never revealed. The comic- straight man teams like radio and television's "Dragnet“ have been successful. Also, how can a comedy show lose with a dog hero like Andrew Roosevelt Johnson?

Nevertheless, one may see this script has more drama than comedy. True, but it is different, it is relevant, and it has potential. Once the characters are somewhat better established after three or more episodes, the comedy and drama may balance. Recall that character humor requires time to develop. CHAPTER IX

CONCLUSION

Fred Allen once forecast an ominous future for radio comedians.

.‘n

...v

DI'ﬁ-im

There was a certain type of imaginative comedy that. at

could be written for and performed only on radio. But £“_-IL we are living in a machine age, and for the first time ' I; the comedian is being compelled...to compete with a machine...khether he knows it or not, the successful comedian is on a treadmill to oblivion.3‘

He knew from eXperience the limitations of radio comedy.

Allen was very fearful that the radio released such a huge number of machine-made jokes per night that it dulled the average person's responses. “Before radic,“he said, “when Will Rogers or a Peter Finley Dunne made a wisecrack, it would be quoted from one end of the country to the other and everyone repeated it for a month. Today, nobody remembers what I said on the radio last week, except some gag writers who are figuring ways to steal the jokes.”5

The rise of television ultimately brought the decline of radio comedy and the end of the Golden.Age of

Radio. Advertisers left radio for the increasingly popular medium of television. It was just a common sense business move, but it marked the end of an age of radio comedians. Ed.Wynn warned: “Being a comedian is an art and not a business. It should.not be judged exclusively by } 5*Harmon, Comedians, p. 183.

r 52Cahn, [113511 Piniu‘ﬁ, p0 1650

155 business standards.3

With the decline of radio comedy 1?; mi.nent, comedy moved to television, Fred.Allen predicted:

Television is 110thing like vauo eville. In vaudeville you had one act and a constantly changing audienceu-TV, like radio, is Just the opposite. You have the sagze aud_ience all the tin a, so the act must be chann.jed after eao h performance Naturally, the quality of the material gets low.77 Nor was comedian.Steve Allen entirely optimistic about comedy's future on television.

TV has helped and injured the deve10pment of comedy. It has helped it by stimulating it to a prodigious growth, but the vcrys need of that growth in the long run seems to have worked to the dis drantagc of the art of convoy. The ind.ustry seems to wear many of the comics out and to cut 011 the progress-01 newcomers before they have a fair chance to develop.9 5°

Today, television has almost entirely replaced radio as the broadcast medium of comedy. Television's effectiveness in this role depends on the viewer. The younger generation may have no basis of comparison. The older generation, the often ignored category on advertiser's audience surveys, has only memories of the past, realities of the present, and prayers for the future.

llIn the decade of the thirties, obstinately perhaps, candor, freedom, and comic potency found their fullest representation. “59 The upsurge cannot be attributed to the technological advances of radio or talking movies alone.

561hid., p. 176. 5711mm . 5 Sins .

59Bier, ﬁrmer, p. 283. 15? a feeling of-confidcnce in national undertaking in the

thirtiesu-the New Deal era followed by World War II. One

would think that the postwar sense of victory, national

pride and confidence, and free~world leadership would have

. injected a Spirit of.new hepe, enthusiasm, and success in

radio comedy and.American humor. Unfortunately, this was

not the case.

"An uncertainty, a deepening mood of frustration,

other thralldcms and insecurities, however, in combination

with internal comic exhaustions, have reduced comic gaiety

and enterprise."60 The postwar mood marked the beginning

decline of American humor. However, this decline, together

with the waning popularity and importance of the entertain-

ment medium of radio and the advancement of this new

ethereal electronic receiver called television, abetted the untimely, immerited demise of the Golden Agent Radio.

And gone forever are those knightly witwrights of mirth

into the eternal necr0polis--wiSps of memories of ever-

attentive celestials.

60Bier, humor, p. 283. SELECTE BI BLIOGBAPHY SELECTED BIBLIOGRAPHY

BOOKS

Bernouw, L?.Lk. A_ Tf "Q” 1“?”FQT’ A H} "+“”V G; Brnodosstins '.an 1:113, [,3313;ﬂ£"rw"“, VF'E: '-‘ ffw lésnLQ 1F. 33.11034 1033K: Oxzoid Unixers icy frees, 966.

Bier, Jesse. $33 Bi;a_;ndrFell_cf 93933333 Humor. New York: Holt, hinehart and nineten, 1968. ‘ ‘.tP—‘i—B

Buxton, Frank, and Owen, Bill. Efﬁiﬂ's Golden Ame: T”. @_ 12“":77 Pror’j_ P3} t?q_ P “”F“”§it£fs. new low Ea"ton Valley irvso, 1966. nod—W7

081111, \s‘illip 1n. Trn“ 1017.71 Ylnh-«nco [1 "P1 {n+arojq1 lflfiJ-r‘rj (:11 Av winnn (‘3‘;j333, d1tu8,n int induction t3 harold Lloyd. hew 102:: G. P. Putnam‘s Sons, 1957. Cuthbert, Margaret, ed. fidvcnttre in Padig. n.p.: Howell, boskin, Publishers, M-wg, Inc., 1945.

Harmon, Jim. The Great R7dio Ccrcii.ns. Garden City, New York: Doubleday & to:p£ay, Inc., 1970. Landry, Robert J. This “esoir j: tn3 _Rcdig Putin as Indianapolis: LObDS-uclrlll Company,1wbo

Settel, Irving. A Pi t~r511_ﬂiceorv of Rodin New York: Grosset & Dunlap, 196;. WM 8 . Max . ed . Esisiiﬁncsngeats....o1.1.55.3:32 . N ew York: Whittlesey house of the thrawnhill Book Company, Inc., 1939.

PERIODICALS

Seldes, Gilbert. “Male and Female and Radio.“ Eggnige,

January, 193“, pp. 35, 1£?Oo “The World‘s Worst Juggler.” @133, April 7, 1947, pp. 71-76.

158 159

N [I L I 3 PA 1?}; H

Talbert, Bob. "He May 3 k 3911d8tin~v,Dvae°sNot-- Just Ask Insr Cabbi .” 3"; 1?,5 no Pgoss.s April 16,1972, :60. A, p. l5.

RECORDINGS

National Voice Libra ary, M1chigs.n S tate University.

Depar oment of Television and Radio Audio Tape Archive of Broadcasting History.

Stemen Collection of Broadcasting History Recordings.

"7'11@ifllflfli'ififlflfl‘flflflfijw