Mixed Nuts: America's Love Affair with Comedy Teams from Burns and Allen to Belushi and Aykroyd [Englisch] [Gebundene Ausgabe]

The Smother Brothers were one of the most important influences on me in my formative years. By the time I was in the sixth grade I had all of their albums and the last television show I watched before we flew to Japan to live there for several years was "The Smothers Brothers Comedy Hour." I went to school proudly wearing my "Mom always like you best" button and still have my autographed photographs of Tom and Dick. Not only did I learn all of their routines and to sing both parts of their arrangements, but from the Brothers Smothers I got my love of satire, parody, political humor, folk song, and two-part harmony. I even got to tell this to Tommy Smothers once upon a time when I ran into him in a Minneapolis hotel and was able to inform him of his personal responsibility in making me the person I am today.

Of all of the comedy teams discussed in "Mixed Nuts: America's Love Affair and Comedy Teams from Bruns and Allen to Belushi and Aykroyd," the Smothers Brothers are the only ones still performing. I saw them perform just this summer and their opening number is entitled "We're Still Here." In this book Lawrence J. Epstein looks at the great American comedy teams of the 20th century. Epstein started off his research for this book in order to explore why the classic comedy teams disappeared and ended up advancing the idea that the importance of these comedians was in how they helped American survive the trying times in which they lived. The author of "The Haunted Smile: The Story of Jewish Comedians in America," Epstein obviously takes comedy seriously.

The focus here is primarily on the great comedians of the movies, with chapters being devoted to Laurel and Hardy, the Marx Brothers, Abbott and Costello, Hope and Crosby, the Three Stooges, and Martin and Lewis. However, the volume begins with Burns and Allen playing the Palace for the first time and by the time television replaces the movies in the 1950s and 1960s, Burns and Allen are on television. In between a lot of things have changed, and there are chapters devoted to particular mediums (e.g., radio) and decades (e.g., 1930). With television forcing comedians to be funny every single week we have a move towards ensemble comedy. At the heart of "I Love Lucy" and "The Honeymooners" you will find Lucy & Ethel and Ralph & Norton, but Ball and Gleason do routines with other cast members and guest stars as well. Eventually we get to the ensemble casts of classic situation comedies from "The Dick Van Dyke Show" and "All in the Family" to "M*A*S*H" and "Friends."

However, you need to be forewarned that just like the real things, "Mixed Nuts" is going to leave you wanting more. You cannot toss in "The Password" routine from "Horse Feathers" and not immediately thinking about other choice verbal duels between Groucho and Chico Marx. Fortunately Epstein includes the entire "Who's on First" routine as performed in "The Naughty Nineties" or I would have had to take the book and throw it against the wall. But while Epstein does revisit several of the best-loved comedy routines from the previous century, that is only part of his purpose here. He also wants to look at the personal stories on how these groups came together, and how each team was shaped and were shaped by their respective eras. So be prepared to be tantalized by those snippets of favorite routines and wish for there to be much, much more. For the Smothers Brothers we get their short little "Moron" routine, but nothing about their masterpieces, like the way they took "I Talk to the Trees" over the years to the point where they got laughs when Tommy did not come in or the way they they can milk Dick's glare for multiple laughs in "Cuando Caliente el Sol."

In the end the key thing is that Epstein makes the case for his thesis. Weaving in lesser known comedy teams, from Gallagher & Sheen and Amos & Andy to Nicholas & May and Rowan & Martin, is more important than providing a comprehensive look at any given team. Epstein wants to define the uniqueness of each group and establish their place in the era they helped to define. Besides, there are plenty of books out there about the Marx Brothers and the cast of "Saturday Night Live," and if Epstein wants to leave the door open for somebody else to write a definitive history about the lives and comedy of the Smothers Brothers, I am certainly not going to be complaining on that score. Epstein is justified in keeping "Mixed Nuts" lean, because that way his thesis is not lost in the laughter. Now, you have to excuse me because I suddenly need to watch "A Night at the Opera" again.

In my review of The Haunted Smile: The Story of Jewish Comedians in America, I share Epstein's concluding observations that "the comics who emerged from this Jewish background were not aware of psychological or sociological theories. As George Burns noted, they were not hungry for recognition; they were hungry for food. They did not question their humor but rather just recognized and used it. Nevertheless, the roles comedians played and most particularly the contributions of Eastern European Jewish culture shaped the personalities of these comedians and lay, either hidden or not, in their minds." I then explain that, for me, a Gentile, it is impossible to determine to what extent Jewish comedy became assimilated within American society, and, to what extent Jewish comedy helped American society became assimilated with Jewish values. My suggestion then and now is that we call it a tie and consider ourselves that much the better for it.

In this volume, Epstein focuses his attention on "America's love affair with comedy teams from Burns and Allen to Belushi and Aykroyd" as he explains how and why the greatest comedy teams became so popular in films, on radio, and then on television. Sharing much in common with marriages, not all comedy teams survived (e.g. Martin and Lewis) whereas many of those which did succeeded despite significant differences between the partners. Epstein suggests that these differences help to explain the appeal of Laurel and Hardy, the Marx Brothers, Abbott and Costello, the Three Stooges, and Hope and Crosby. I especially appreciate Epstein's insights concerning George Burns and Gracie Allen. Early on, Burns realized that -- contrary to his prior background and training -- audiences required him to be her straight man, feeding her carefully crafted cues. Indeed, most of the great comedy teams demonstrate this symbiotic relationship between "an authority figure" and a "rebellious spirit." The former was not necessarily one of the team's partners. For Laurel and Hardy, Jimmy Finlayson served that purpose as did Margaret Dumont for the Marx Brothers (especially for Groucho) and Audrey Meadows (Alice) for Jackie Gleason (Ralph) and Art Carney (Ed). True, over time, traditional comedy teams seem to have lost much of their appeal, as have stand-up comics. However, as Epstein notes, there was "the uncharted course of their enduring afterlife, reflected in such forms as contemporary situation comedies" which include M*A*S*H, the Mary Tyler Moore Show, Cheers, Friends, and Frasier.

For Epstein, the essence of a team is suggested by the following exchange between the Crane brothers:

Frasier: Dinner?

Niles: Perfect. No place fancy, I'm sure neither of us wants a heavy meal with lots of wine and expensive desserts.

Frasier: Oh, it's your turn to pay, isn't it?

Niles: You know me so well.

All of the great comedy teams knew each other so well. As Epstein explains, "It is a feeling all of us need, and that is why we will continue to treasure the enduring contributions of comedy teams. They, after all, created characters that reflected our private dreams, suppressed longings, and most bedeviling fears. And, most importantly, as we remember their routines and their friendships, we find ourselves laughing."

This is a brilliant and eloquent as well as highly entertaining book which enables its reader to increase substantially her or his understanding and appreciation of the great comedy teams. As I read the final chapter, I felt like Charles Chipping ("Mr. Chips") who, in his imagination, is re-visited by all the boys whom he had taught throughout his career at Brookfield. Thanks to Lawrence Epstein, I have been able to reconnect with so many beloved entertainers whose talents enriched my life in ways and to an extent I am unable to express now.

If you're a Baby Boomer like I am you have been exposed to just about all of it. When we were growing up in the 1950's and 1960's the George Burns and Gracie Allen Show, Abbott and Costello, Laurel and Hardy and of course The Three Stooges were all staples on TV. In the early 1970's, the antics of Groucho, Harpo and Chico enjoyed a remarkable revival and at colleges and universities all over America Marx Brothers film festivals were all the rage. We enjoyed the antics of Lucille Ball and Vivian Vance and lived through the controversary surrounding the Smothers Brothers. And we howled at the comic genius of John Belushi and Dan Ackroyd. That is why I was so excited when I came across "Mixed Nuts: America's Love Affair With Comedy Teams From Burns and Allen to Belushi and Aykroyd".

Lawrence Epstein has succeeded in chronicling the history of comedy teams in his exciting new book. I enjoyed it from cover to cover. Epstein tells the remarkable story of comedy teams from their earliest days in vaudeville. He introduces us to names we probably never heard of but who were nonethless influential in the history of team comedy. He cleverly intersperses bits of some of the classic routines into his narrative. And he attempts to explain the political, social and cultural reasons why certain acts were wildly popular while most others fell by the wayside. It is quite obvious that Epstein is a big fan of comedy teams. And in the end, he offers reasons why they have all but disappeared from the American scene. Whatever your age, you are sure to enjoy this informative and extremely well written book. Highly recommended.