| 4 | | a hope-less industry | | Bob Hope's death made the front page of The New York Times, which gave the universally beloved entertainer "above the fold" treatment. Below the fold, at the bottom of the same page, the Times ran another entertainment-related article, "Gay-themed TV gains wider audience, " featuring a color photo of two men from the Queer as Folk television show kissing. Thus the contrast between Bob Hope's brand of entertainment and what has taken its place. Mr. Hope was patriotic, pro-family, respectful of religion, and he never used bad language in his routines. This did not prevent him from being very, very funny. He could lampoon politicians to their face, but his sense of humor was so good-natured that the targets of his satire laughed along with him. Today's stand-up comics, in contrast, make a strenuous effort to be lewd and crude. Their personas tend to be angry, cynical, and hostile to every value they can find. George Carlin, one of the first anti-Hopes, became famous in 1972 for a schtick in which he did nothing more than utter "the seven words you can't say on TV. " Now that you can, in fact, hear all of those words and more on cable TV, comedians keep trying to find lines they can cross and taboos they can break. But few are as funny as was Bob Hope. In classical literature, comedy was the most moral of dramatic forms because it entailed ridiculing vice. The old comedies often portrayed vice, but they presented it as foolish, laughing it to scorn. The assumption was that people would not want to imitate behavior that was being made fun of. Bob Hope was in this tradition, using humor constructively. Many of today's comedians, instead of ridiculing vice, ridicule virtue. But even when his style of humor had become passé, Americans of all ages and political persuasions could not help but appreciate Bob Hope. It is doubtful whether Queer as Folk and the stars of The Man Show will inspire as much affection. | |
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