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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
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