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You may not know any of the hundreds of words, but I’ll bet you know the tune, and there aren’t a lot of Victorian-era operatic songs that can claim that.
Mark Twain’s most famous work is best known for its biting commentary on racism and the Victorian panic over corrupted youth, but just as important is Twain’s satire of man as a whole.
Last year, when we were putting together “The 100 Jokes That Shaped Modern Comedy,” our goal was to present a list of jokes that captured the entirety of capital-C comedy.
While we feel 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 today.
The list was put together by Jesse David Fox, Bill Scheft, Dan Pasternack, Yael Kohen, Mike Sacks, Christopher Bonanos, Hunter Harris; E.
Alex Jung, Abraham Reisman, Andy Beckerman, Naomi Ekperigin, Andy Evans, Bridget Flaherty, Halle Kiefer, Jenny Jaffe, Elise Czajkowski, Ramsey Ess, Jake Kroeger, Matthew Love, Katla Mc Glynn, and Dave Schilling.
Only, nobody was interested in going to see it since copyright law didn’t extend to foreigners at the time, and a number of theater companies had already staged the show in America. Stage a new production in America, copyright it there, and beat the pirates at their own game.
(An 1847 issue of magazine is credited as the first to print the joke; however, it is unclear where the joke started.In the first wave of American burlesque, the productions were female-led and the costumes were revealing — above-the-knee dresses and tights — making them a risqué treat for the audiences who flocked to the shows.