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:To reply to your question, look at the butt of the joke: it's not the aristocracy, it's every agent and manager who's ever ripped off a performer, it's the parasites in the system like a certain well-groomed X-Factor/America's Got Talent judge, it's the critic who can't do but can snipe, it's the tears of the clown. That goes back to [[Robert Armin|Bob Armin]] at least, and his theories shove it back to the ancient Greeks. The point isn't the contrast, but that the agent sits there and takes everything the joke sends his way without batting an eyelid, not even Rome can plumb the depths of the hypocritical cess-pit in that guy's mind. Nobody can. The Devil incarnate couldn't. And that's what the performer has to deal with? That's what makes it funny within the profession, because it's the real tears of the clowns. The punch-line is almost irrelevant, in fact, for all that it has overtones of social revolution - it's simply pointing up further the agent's sycophancy. |
:To reply to your question, look at the butt of the joke: it's not the aristocracy, it's every agent and manager who's ever ripped off a performer, it's the parasites in the system like a certain well-groomed X-Factor/America's Got Talent judge, it's the critic who can't do but can snipe, it's the tears of the clown. That goes back to [[Robert Armin|Bob Armin]] at least, and his theories shove it back to the ancient Greeks. The point isn't the contrast, but that the agent sits there and takes everything the joke sends his way without batting an eyelid, not even Rome can plumb the depths of the hypocritical cess-pit in that guy's mind. Nobody can. The Devil incarnate couldn't. And that's what the performer has to deal with? That's what makes it funny within the profession, because it's the real tears of the clowns. The punch-line is almost irrelevant, in fact, for all that it has overtones of social revolution - it's simply pointing up further the agent's sycophancy. |
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:This author, in passing, has puns listed in the all-time greats alongside such as [[Leo Rosten]] - I bow before their mastery. |
:This author, in passing, has puns listed in the all-time greats alongside such as [[Leo Rosten]] - I bow before their mastery. |
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==The humour== |
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According to the article the humour appears in the contrast between the horror of the scene and the noble title. Whoever wrote this doesn't get the joke. The humour is the implicit social commentary on the decadent practices of the aristocracy. [[User:Maunus|·Maunus·<span class="Unicode">ƛ</span>·]] 14:02, 19 October 2010 (UTC) |
Revision as of 00:12, 27 October 2010
Veracity
Is there any truth to any of this? I have heard that the entire thing is made up for the movie as an elaborate joke by Penn Gillette.
Has anyone checked the source? Shemp Howard, Jr. (talk) 00:11, 22 April 2010 (UTC)
- Please don't anyone shift those flyers on the Article page - they make it its own exemplar, with Admin as the target.
- To reply to your question, look at the butt of the joke: it's not the aristocracy, it's every agent and manager who's ever ripped off a performer, it's the parasites in the system like a certain well-groomed X-Factor/America's Got Talent judge, it's the critic who can't do but can snipe, it's the tears of the clown. That goes back to Bob Armin at least, and his theories shove it back to the ancient Greeks. The point isn't the contrast, but that the agent sits there and takes everything the joke sends his way without batting an eyelid, not even Rome can plumb the depths of the hypocritical cess-pit in that guy's mind. Nobody can. The Devil incarnate couldn't. And that's what the performer has to deal with? That's what makes it funny within the profession, because it's the real tears of the clowns. The punch-line is almost irrelevant, in fact, for all that it has overtones of social revolution - it's simply pointing up further the agent's sycophancy.
- This author, in passing, has puns listed in the all-time greats alongside such as Leo Rosten - I bow before their mastery.