Rigorously clean-cut, competent on the acoustic guitar and double bass, and seldom wearing anyfactor extra daring than cherry-red blazers, Tom and Dick Smothers seemed just like the antithesis of 9teen-sixties insurgentlion. After they first gained national recognition with their variety present The Smothers Brothers Comedy Hour, they should have come off to many younger viewers because the form of act of which their mother — and even grandmother — would approve. However the brothers’ cultivatedly sq., neo-vaudevillian seemance was deceiving, as CBS would quickly discover out when the 2 took each likelihood to show their professionalgram right into a satirical, relentmuch lessly writerity-challenging, but somehow entiresome presentcase of the counterculture.
The Smothers Brothers Comedy Hour premiered in February of 1967, and its first season “featured minimal controversial content,” writes Sarah King at U.S. History Scene. Thereafter, “the present turned increasingly political. The brothers invited activist celebrities onto their present, including people singers Pete Seeger and Joan Baez and singer-actor Harry Belafonte.
The present additionally professionalduced its personal political material criticizing the Vietnam Conflict and the politicians who supported it,” not least President Lyndon Johnson. Carrying on Seeger was a daring transfer, given that he’d been blackchecklisted from webwork television for the guesster a part of twenty years, although CBS’s censors made certain to chop out probably the most politically sensitive elements of his act.
Much more so was the brothers’ personal performance, with George Segal, of Phil Ochs’s “Draft Dodger Rag,” which they finished by urging their audience to “make love, not conflict.” All this will look honestly tame by immediately’s standards, but it surely locked the present — which had turn into top-rated, maintaining its personal in a time slot towards the cultural phenomenon that was Bonanza — right into a grudge match with its personal webwork. Earlier than the third season, CBS’ excessiveer-ups demanded that every present be turned in ten days prematurely, ostensibly with a view to beneathgo evaluation for sensitive material. In a single occasion, they claimed that the uselessline hadn’t been met and aired a re-run as an alternative, although it might not have been completely irrelevant that the intended professionalgram contained a tribute by Baez to her then-husband, who was being despatched to jail for refusing to serve within the military.
CBS did broadsolid Baez’s performance on a later date, after clipping out the reference to the specific nature of her husband’s offense. A similar struggle came about across the “sermonettes” delivered by David Steinberg, certainly one of which you’ll see in the video above. The irreverence towards U.S. foreign policy, religion, and far else moreover in these and other segments eventually proved an excessive amount of for the onlinework, which fired the brothers after it had already given the inexperienced gentle to a fourth season of the Comedy Hour. Although they successfully sued CBS for breach of contract thereafter, they never did regain the identical level of televisual prominence they’d as soon as loved, if get pleasure from be the phrase. At any charge, the autumnout of all this controversy agencyly put in the Smothers Brothers within the pantheon of twentieth-century free-speech conflictriors, and their experience reminds us nonetheless immediately that, without the freedom to offer offense, there might be no comedy worthy of the title.
Related content:
Watch Steve Martin Make His First TV Seemance: The Smothers Brothers Comedy Hour (1968)
When The Who (Literally) Blew Up The Smothers Brothers Comedy Hour in 1967
Watch 3000 Years of Artwork, a 1968 Experimalestal Movie That Takes You on a Visual Journey By means of 3,000 Years of Effective Artwork
Revisit Flip-On, the Innovative TV Present That Acquired Canceled Proper within the Middle of Its First Episode (1969)
Pink Woman and Jeff: Japan’s Largest Pop Musicians Star in Certainly one of America’s Worst-Reviewed TV Reveals (1980)
Primarily based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His tasks embrace the Substack newsletter Books on Cities and the e-book The Statemuch less Metropolis: a Stroll via Twenty first-Century Los Angeles. Follow him on the social webwork formerly often called Twitter at @colinmarshall.