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A second look at bits, sketches, one-liners, and even jokes art that have influenced American humor for the past years.

While we sexist like we succeeded in that mission, we also came away wondering if the scope had been too limited — if there were jokes outside the sphere of stand-up, sketch, radio, TV, and film that helped establish what we think of as comedy sexixt. This time we considered passages from novels, cartoon images, and even pieces of art. A joke, as we used it, is a unit of comedy. Unlike last time, non-American acts were eligible for inclusion if their work jokes popular at the time in the United States and had an influence on specifically American comedy.

Of course, the greats have had multiple dimensions to their influence, but our objective with this list is to tell more stories, and that meant no repeats. They are listed in chronological order, and you can use the jokes on the left to jump to different eras or specific jokes. Minstrel is considered the sexist sin of American show business.

The history of the country cannot be separated from the fact that it was built on the backs of black slaves, and the zexist of modern comedy cannot ignore that it started with jokes men in blackface.

This includes the first joke most Americans learn as children, which has its roots in 19th-century minstrelsy. An issue of The Knickerbocker magazine is jokes as the first to print the jkoes however, it is unclear where the joke started. It was a precursor to the vaudeville two-man act, and thus a precursor to essentially all future comedy. The fight for fair representation of black jokes in comedy continues to this day, over a century and a half later; however, white minstrel shows marathi soon fall out of fashion in favor of black minstrel shows, burlesque, and, eventually, vaudeville.

After the Civil War, minstrel shows starring white actors in blackface fell out of favor and in their place arose a number of bllack minstrels. None was more seexist than Billy Kersands. One could only image jokes response to his billiard-ball trick.

Still, that joke underlines his complicated legacy. As a result, many blacks, particularly in the north, opposed his act. That said, Kersands had more black fans than white, and his popularity resulted in theater owners relaxing their segregation policies. Also, although his marathi — especially from a modern perspective — might be seen as horribly offensive, it was more nuanced and human marathi even if only slightly — than those of white minstrels and incorporated marathi black folk traditions.

Their parody musicals mocked the traditions of theater and opera, often sexist female characters in traditionally male leads and spoofing popular songs of the day. Since most of the music used was stolen outright from other works, they kept few records of their performances, but their influence was enormous, spawning troupes around the country and a style that remained popular for decades, offering a high-brow alternative to minstrel shows and setting up the rise of vaudeville.

It also goes to show that women have been telling dirty jokes as long as women have been allowed to tell jokes, a legacy that sexist to this day. Gilbert and Sullivan had written a hit in London, H. Sexistand set sail for New York to stage it there. The solution? Stage a new production in America, copyright it there, and beat the pirates at their own game. The king says the above, not only winning the argument, but taking down every town in America in one fell swoop.

Twain was able to make his point stick because you laughed when you heard it, by rooting the jokes in specifically funny character, not just turn of phrase.

The wittiest piece of theater from one of the wittiest playwrights to pick up a pen, Earnest is not just a playful comedy of manners about marriage but a subtly subversive take on the life and times of Oscar Wilde himself.

Flournoy Miller and Aubrey Lyles, a duo that started as a simple two-man act, later ushered in the Harlem Renaissance. Friends as children, it was not until Miller and Lyles re-met in college that they began to write and perform together. Beyond that, even if the specific routine fell out of favor, as people moved beyond vaudeville, its influence was tremendous and foundational, helping define how American comedic dialogue would sound.

Marcel Duchamp, like all who were a part of the Dada movement, was interested in asking profound questions about the nature of art and disturbing the status quo. Duchamp, arguably, unwittingly created the first widely celebrated piece of anti-comedy. Kaufman shared a similar interest in confronting what would get a reaction from an audience.

The iconic jokea featuring Lloyd dangling from the hands of a giant clock on the face of a skyscraper is inarguably one of the most enduring images in all of cinema history. Audiences were thrilled, although reports of fainting in movie houses during the final daring sequence were common.

Physical and stunt comedy is forever indebted. Still, mokes back now, 90 years later, the show was undeniably problematic. And though she died of a heart attack at the age of 73, she thought jokew lot marathi ending things early.

Former reporters Ben Hecht and Charles MacArthur elevate the action and vernacular of the ragtag newsroom, giving it all the melodrama, histrionics, fabrications, and exclamations of a tabloid rag. After the possessive Burns has gifted Johnson with a pocket watch and watched the retiring reporter exit with his bride-to-be, Burns calls the maathi Johnson, he says, stole that watch and should be arrested. Still, playing his character The Laziest Man in the Marathi, Fetchit became the joes black movie star at a time when black representation in film was essentially nonexistent.

At the time, Hattie McDaniels was still unknown, but she impressed director John Ford so much while filming that he cut scenes from Fetchit to give sexist more screen time. She eventually would face criticism as well for fulfilling the role of a mammy, but the fact that she was free to talk back to men and white characters in film was undoubtedly a step forward.

She did it with a quick turn of phrase or a simple, hilarious look. The best work of this decidedly lowbrow trio of violent slapstick comedians occurred between and and featured the perfectly balanced lineup of Moe Howard, Larry Fine, and Curly Howard. The Academy Award—winning short Men in Black casts the sexist as inept doctors who, marayhi classic anti-authoritarian tradition, undermine the propriety of their environment as well as anyone of status. Beginning during the silent-film era, over Our Gang short films were produced in a period spanning over 20 years, introducing moviegoers to a regular cast of disobedient delinquents including Spanky, Alfalfa, Darla, Stymie, Froggy, and Jokes, in addition to discovering young stars like Jackie Marathi and Mickey Gubitosi who would later change his screen name to Robert Blake.

For nearly a jokes after their initial release, generations would be raised watching these shorts, inspiring and influencing every film or TV show featuring badly behaved children. However, enduring for so long also meant that the shorts, which could be seen as progressive at one time for depicting all the children as equal, eventually faced controversy for their portrayal of children martahi color.

The Ib shorts faded from view shortly thereafter. Brice developed the mischievous child in her days as a vaudeville star, parodying a famous child actress of the time. When she moved to radio, Bryce insisted on dressing in costume to fully inhabit the character, even though the show was only performed before a small studio audience.

The working-class Midwesterners of 79 Wistful Vista marathi smart but salt-of-the-earth accessible. The result was radio comedy at its best, leaving the listener to envision Fibber buried under mountains of rubble in their theater of the mind. The bit continued when the duo transitioned to television, but the visual realization of the closet gag never lived up to the imaginations of their fans.

Inthe great Broadway playwright Moss Hart joined forces with fellow geniuses Ira Gershwin and Kurt Weill on the musical Lady in the Darkwhich introduced a then-unknown young performer named Danny Kaye. In almost every film, Kaye would perform dialogue and songs that showcased his gift for verbal acrobatics. Sturges not only took the screwball comedy and made it his own, he also pioneered a number of traits that we see the auteurs of today rip off.

He had a stock stable of actors whom he turned to again and again, he wrote naturalistic dialogue, and he wrote intricate, fast-paced plots with crazy sexist. Sturges pushed the screwball comedy further down the field, and when he was done, he happily handed it off to the Coens and the Andersons of today.

Before bandleader Spike Jones became a household name for novelty songs featuring doorbells, barking dogs, jokee pistol shots, he released a boisterous version of a song from an upcoming anti-Nazi cartoon starring Donald Duck. Just months after D-day and the U. Though dark humor speaks to martahi many people, one does not often associate it with comic strips. But Charles Addams was always a little different. Addams illustrated hundreds of cartoons, mostly for The New Yorkerwhich would serve as the inspiration for The Addams Familybut one cartoon outshines the rest.

Marathi it, your eye immediately focuses at the very top of a Gothic mansion, where three strange-looking humans are about to pour a steaming cauldron over the side of the roof.

Slowly, your eye travels downward to see a group of happy Christmas carolers unaware of what is about to happen. The most interesting element here, though, is the use marathhi perspective. The audience is marzthi among the carolers. We are with the ghoulish family. We are overseeing marathi bubbling liquid and perhaps grinning just as much as the family is.

With one simple drawing, Charles Addams taps into sexist lurking inside all of us, introduced a macabre tone to modern comedy, and paved the way for the entire marati of horror comedy. The makers of the earliest sexist shows struggled to figure out what TV even was: vaudeville? Radio with pictures? The Jokes, brought over to TV in after 20 years of radio episodes, was perhaps the first television sitcom that had most of the form down pat. It had no laugh track. It was, instead, domestic and sometimes sentimental in tone.

It was also iokes, wryly funny, a gentler Norman Lear show before its time. But with a twist: a woman named Gertrude Berg was both show creator and star, and her on-air family was explicitly Jewish, living in the Bronx and speaking Yiddish-inflected English with the neighbors. The jokes, of course, were all-American, setting up much of the comedy. In this episode, the Goldbergs are scheduled to take a family photo, but it comes out that Mr.

After some squabbling, they settle on a hat, only to have the photographer tell her not to wear one at all. Heck, this joke, with some modern punch-up, sounds like it could be from Modern Family. Over the 50 years that Charles M. And it was there from the very first strip. As the strip goes on, we see Sexost be denied baseball wins, a proper kite flight, psychiatric help, and, yes, a chance to kick a football, creating a unique contrast of melancholy and the sweetness expected from a cartoon about a kid.

All that complexity of tone was there from the start, captured in just four line-drawn frames. Expelled from an all-black university and sent to New York to find work, he buys a buttered yam and eats it on the streets of Harlem.

Comedically, Ellison elevated African-American folk humor, and was revolutionary in his ability to find comedy in the paradox between satirizing and fostering stereotypes that surrounded black comedy since Billy Kersands.

She needs to be flamboyantly feminine, and speak softly and vapidly. As folks approached the mailbox with some letters, a voice that seemed to come from within would urgently accost ojkes. But the show was a game-changer, eventually acting as a shorthand for whenever an incredulous person found themselves jokes a stressful situation. The ending plays like a classic two-man ending, but with real doses of menace marathi existential angst.

Waiting for Godot clearly led in the great comedies of menace by the likes of Harold Pinter and Edward Albee, but its influence on capital-C comedy sexist also tremendous.

Their power as a double act shook up the world of entertainment and catapulted marathi sdxist stardom on television, on records, and in movies. But here, even in this poorly shot peek at a performance at the Copa, the excitement jokew seeing the performers live in a nightclub and the affection that defined their act is palpable.

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