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My New Favorite Thing: Rowan & Martin's Laugh-In

By Skip Elmsheimer | Issue #22

The awesome cable network Trio has re-introduced me to the late 1960s variety show Laugh-In. As a teenager, I found it hard to watch. The humor seemed simple and goofy, I didn't get the cultural references, and many of the skits relied on inane catchphrases. In some cases, the celebrities who appeared on the show couldn't even tell their dumb joke without flubbing it or laughing--a no-no in my book.

But now I watch Laugh-In for the exact qualities I once loathed. Sure, some of the jokes are dated, but many are still relevant, particularly the jabs at a certain Texan president (LBJ) involved in an unpopular war. But hearing Flip Wilson quip, "If black people have such a great natural sense of rhythm, how come they have so many children?" makes my neck hairs bristle; I can't imagine this on prime time today. Even thirty years later, Laugh-In challenges mainstream sensibilities. (It only recently dawned on me that the title is a comedic take on the 1960s "sit-in" or "teach-in.")

Laugh-In was wildly popular during its first run, ranking number one in the ratings for the first two seasons and winning several Emmys. Its rapid-fire skits and high-energy camera work influenced many future shows, including The Electric Company, Sesame Street, That Was the Week That Was, and most of the variety shows on Nickelodeon. Laugh-In added vaguely obscene catchphrases to the pop culture lexicon: "You bet your sweet bippy," "Look that up in your Funk & Wagnalls." Fans often point out that Richard Nixon's line "Sock it to me" on the show softened his image and helped him win the presidential election. While that may be overstating it, Laugh-In clearly was an influential part of late-1960s popular culture. This goofy little show managed to capture the hopes, desires, and fears of a country in transition. (Laugh-In can be seen on DVD and weekday mornings on Trio.) --Skip Elsheimer