Vaudeville Humor: The Collected Jokes, Routines, and Skits of Ed Lowry contains vaudeville jokes, skits, and routines from the first three decades of the twentieth century originally compiled by comedian Ed Lowry (1896–1983). Although occasionally found in bits and pieces in anthologies and in some period dramatic comedies, vaudeville humor has never before been available in one collection—performers rarely if ever kept a record of their jokes and routines. Fortunately, Ed Lowry was an inveterate collector. He kept copious notebooks of jokes and routines that he not only commissioned but also stole from other comics, clipped from newspapers, and copied from now defunct popular magazines of the day. Editor Paul M. Levitt has reorganized the material into categories that preserve some of the flavor of Lowry’s scrapbooks yet provide for finer distinctions. Part one, “Jokes,” is organized by subject matter and cataloged by genre, dialects, and wordplay. From “Accidents” to “Work,” this exhaustive catalog of humor features over one thousand jokes with topics that range from city slickers and country hicks through midgets and old maids to Swedes and tattoos. Part two, “MC Material: Biz, Jokes, Routines, and Skits” is germane to the job of master of ceremonies, routines, and skits. It features topics from fractured fairy tales to stuttering. Part three, an appendix, “Ed Lowry Laffter,”reproduces a privately published collection that is now a rare collector’s item. “Although some of the jokes can undoubtedly be found in other places,” explains Levitt in his introduction, “I know of no source as rich as this one for the twenties and thirties, a period so abundant in humor that for years afterward it fueled radio, cinema, and television.”

The Comic Offense from Vaudeville to Contemporary Comedy examines how contemporary writer/performers are influenced by the comedic vaudevillians of the early 20th century. By tracing the history and legacy of the vaudeville era and performance acts, like the Marx Brothers and The Three Keatons, and moving through the silent and early sound films of the early 1930s, the author looks at how comic writer/performers continue to sell a brand of themselves as a form of social commentary in order to confront and dispel stereotypes of race, class, and gender. The first study to explore contemporary popular comic culture and its influence on American society from this unique perspective, Rick DesRochers analyzes stand-up and improvisational comedy writing/performing in the work of Larry David, Tina Fey, Stephen Colbert, and Dave Chappelle. He grounds these choices by examining their evolution as they developed signature characters and sketches for their respective shows Curb Your Enthusiasm, 30 Rock, The Colbert Report, and Chappelle's Show.

From 1881 to 1932, vaudeville was at the heart of show business in the UnitedStates. This volume explores the many ways in which vaudeville's story is thestory of show business in America.

This study affords an entirely new view of the nature of modern popular entertainment. American vaudeville is here regarded as the carefully elaborated ritual serving the different and paradoxical myth of the new urban folk. It demonstrates that the compulsive myth-making faculty in man is not limited to primitive ethnic groups or to serious art, that vaudeville cannot be dismissed as meaningless and irrelevant simply because it fits neither the criteria of formal criticsm or the familiar patterns of anthropological study. Using the methods for criticism developed by Susanne K. Langer and others, the author evaluates American vaudeville as a symbolic manifestation of basic values shared by the American people during the period 1885-1930. By examining vaudeville as folk ritual, the book reveals the unconscious symbolism basic to vaudeville-in its humor, magic, animal acts, music, and playlets, and also in the performers and the managers—which gave form to the dominant American myth of success. This striking view of the new mass man as a folk and of his mythology rooted in the very empirical science devoted to dispelling myth has implications for the serious study of all forms of mass entertainment in America. The book is illustrated with a number of striking photographs.

For several generations, comics were regarded as a boys’ club—created by, for, and about men and boys. In the twenty-first century, however, comics have seen a rise of female creators, characters, and readers. While this sudden presence of women and girls in comics is being regarded as new and noteworthy, the observation is not true for the genre’s entire history. Throughout the first half of the twentieth century, the medium was enjoyed equally by both sexes, and girls were the protagonists of some of the earliest, most successful, and most influential comics. In Funny Girls: Guffaws, Guts, and Gender in Classic American Comics, Michelle Ann Abate examines the important but long-overlooked cadre of young female protagonists in US comics during the first half of the twentieth century. She treats characters ranging from Little Orphan Annie and Nancy to Little Lulu, Little Audrey of the Harvey Girls, and Li’l Tomboy—a group that collectively forms a tradition of Funny Girls in American comics. Abate demonstrates the massive popularity these Funny Girls enjoyed, revealing their unexplored narrative richness, aesthetic complexity, and critical possibility. Much of the humor in these comics arose from questioning gender roles, challenging social manners, and defying the status quo. Further, they embodied powerful points of collection about both the construction and intersection of race, class, gender, and age, as well as popular perceptions about children, representations of girlhood, and changing attitudes regarding youth. Finally, but just as importantly, these strips shed light on another major phenomenon within comics: branding, licensing, and merchandising. Collectively, these comics did far more than provide amusement—they were serious agents for cultural commentary and sociopolitical change.

Tracing a career that lasted from 1912 into the 1950s, Havig describes the "verbal slapstick" style that was Fred Allen's hallmark and legacy to American comedy.