I have a friend who takes Saint Patrick’s Day very seriously. His extended family gathers on the weekend nearest March 17 to trade sarcasms and drink alcohol. They boil meat on the Massachusetts shoreline, and balance small talk with cruel reminders of past grievances until whiskey favors one end of the scales. Still, the older members of the clan can cover up scandal, debating sports while training the next generation in table games using root beer instead of the hopped variety for everyone under age. But what is under age? It’s up to them. Pretty standard for Jews.
Not really. They’re Irish. Of course they’re Irish. I’m Irish too, but not that Irish. None of us are Jewish, but the contradiction in ethnic stereotypes makes it funny, and necessary to present my title here instead of above: The Jewish Comic and the Irish Muse. Anything sooner would’ve altered the chemistry of the anecdote, and like a good bartender, a storyteller must know the order of ingredients to deliver their greatest effect, and repeat when necessary. Make it a double.
Editor’s Note: This piece is the first piece in a planned series on teaching humor and television sitcoms. Jeffrey Melton will be spearheading this feature, but he invites you to contribute to the series, as do I. Do you have a sitcom that you teach that you would like to write about? Please contact the editor. Thanks.
I made my ten-year-old daughter watch the first episode of The Beverly Hillbillies. It was going to be a bonding experience for us. At the end as the credits rolled and the Clampetts waved, she said, “That was dumb.” A rift came between us at that moment, a deep realization of disappointment for both of us. We had expected more from one another. But I couldn’t argue against her basic assertion. So I simply said, “Well, you’re dumb, too,” and sent her to her room. No, I didn’t really say that, but I wanted to. I actually said, “Yes, it is dumb, but not as dumb as it seems.” And that’s the moment when “Dad” shifted to “Academic.” She left the room on her own.
There goes the neighborhood: the Clampetts enter Beverly Hills
Why was The Beverly Hillbillies so popular, as corny as it is?
Janet Staiger, in her Blockbuster TV (New York: New York UP, 2000), notes that the early reviews were brutal. Staiger goes on to point out, however, that over a third of all TV households were tuning in by the close of the first season. It was the top show for the 1962/63 and 63/64 seasons by a substantive margin and remained in the top twenty for six more years after its highpoint. According to Staiger, it was THE blockbuster sitcom of the decade.