Smothers Brothers

Also includes stars such as Jackie Vernon, Jack Carter, Henny Youngman, ALlen and Rossi, Joe E. Lewis, Buddy hackett, Phyllis Diller, Danny Thomas, Rowan and Martin, Morey amsterdam, Victor Borge and more

Narrated by Dick Smothers and demonstrated by Tommy Smothers, this video of how-to-instructions on the yo-yo teaches the basics of yo and the advanced state of yo. Yo master Daniel Volk and Tommy Smothers teach tricks like "the sleeper," "walk the dog," "Texas star," and "around the world."

SMOTHERS BROTHERS COMEDY HOUR:SSN 3 - DVD Movie

O, Brothers, where art thou? That's what fans have long asked about the DVD release of the controversial, infamously cancelled The Smothers Brothers Comedy Hour. In his thoughtful and candid audio introduction, Tommy Smothers admits he was reluctant to release the show on DVD, thinking it might be best left to memory as "a fantastic show of its time." He needn't have worried. No mere '60s time capsule relic, these 11 episodes from The Smothers Brothers Comedy Hour's final season are still as funny and entertaining as remembered. After 40 years, the political and social satire and bold anti-war stance are still sharp. With its mix of old-school show business and counterculture comedy, The Smothers Brothers Comedy Hour revolutionized the staid variety show format for a new generation, and ultimately paved the way for shows such as Saturday Night Live. When the clean-cut brothers got their own variety series, no one expected them to make waves. But at a time when TV's most popular programs offered pure escapism, head writer Mason Williams (and a staff that included Steve Martin and Bob "Officer Judy" Einstein) wanted to push the show in a more subversive direction, and Tommy, who only played dumb opposite his brother, sought and was granted (he thought) creative control from the network. By this third season in the tumultuous year of 1968, the brothers and the show were fully and unapologetically politicized. In the season opener that kicks off this set, their appearance has radically changed. Gone are their signature blazers, and both sport mustaches. With "beeping censors lurking in the wings," the Smothers defiantly sing, "We're still here." Among this set's many highlights: Harry Belafonte's performance of "Don't Stop the Carnival" juxtaposed with footage of the 1968 Chicago Democratic Convention, which the censors did cut, forcing a noticeably upset Tom and Dick to fill in with an audience Q&A (also included as an extra); the benchmark sketch, "A Fable for Our Time," featuring impressionist David Frye going medieval on Lyndon Johnson, Hubert Humphrey, George Wallace, and Richard Nixon; a surprise appearance by George Harrison; a charming Donovan sing-along to "Happiness Runs"; and the episode never aired by CBS (and the one said to have gotten the show cancelled) featuring David Steinberg's "Jonah" sermonette. The fourth disc is devoted to deadpan ensemble member Pat Paulsen, whose grass-roots campaign for the White House is chronicled in "Pat Paulsen for President," a special narrated by Henry Fonda. Many happy hours will be spent watching the treasure trove of bonus features, including the Comedy Hour reunion at the 2000 U.S. Comedy Arts Festival, never-before-seen "Paulsen for President" outtakes with Robert F. Kennedy (his footage was cut in the wake of his assassination), a delightful bit in which performers from Barbara Feldon and Nancy Sinatra to Jackie Mason hum the Hour's cheerful theme song; contemporary interviews with performers, and footage of the brothers' post-cancellation press conference. Worth the wait, this is one of the year's best DVD sets, and one that does this landmark show justice. --Donald Liebenson

SMOTHERS BROTHERS COMEDY HOUR:SEASON - DVD Movie

This 4 disc set highlights all of the amazing comedic talents who appeared on the dick cavett show including woody allen lucille ball mel brooks bill cosby groucho marx & many more! Studio: Uni Dist Corp (music) Release Date: 02/21/2006 Run time: 840 minutes

840 minutes (that's fourteen hours, including various bonus features). Four discs. Twelve shows. Eleven famous guests. The Dick Cavett Show - Comic Legends boasts some big numbers, but what it doesn't have, surprisingly, is a whole lotta laughs. The lineup is certainly impressive, from old school stalwarts like Groucho Marx, Bob Hope, Lucille Ball, Jack Benny, and George Burns to relative youngsters (at least at the time; the shows were recorded from the late '60s to the mid-'70s) like Bill Cosby, Woody Allen, and the Smothers Brothers. But this is not a procession of mirth-meisters coming out and doing five or ten minutes of one-liners and standup shtick. There are no performances, per se; like guests on Leno, Letterman, or any other TV talk show, the "legends" converse with and are interviewed by the host, sometimes by themselves, sometimes in the company of other celebs. This casual format yields decidedly mixed results. Take Groucho. Pushing 80 at the time of the first of his two Cavett appearances included here (in 1969), he's sharp and witty, telling many stories, offering up a few good lines ("I liked Perry Como's singing, when he was awake"), even warbling a song or two. But his '71 appearance, in which he reveals himself to be a testy old curmudgeon, railing against nudity in movies and feminism ("As long as women are willing to take alimony, they have no right to women's lib") and unwilling to cede the limelight to anyone else (Cavett's conversation with author Truman Capote is ruined by Marx's refusal to shut up), is tedious at best. Cavett fawns over Hope, who tells some nice anecdotes but, in the absence of his writers, simply isn't very funny; nor is Lucy, whom Cavett describes as "a tough, hardened showgirl." But Jerry Lewis is a riot, peppering the conversation with his trademark mugging and slapstick and engaging in an entertaining Q&A with the studio audience; Mel Brooks is manic and motor-mouthed; Benny's deadpan routine, including the usual zingers about his age, cheapness, and bad violin playing, is charming; and Cosby, then in his mid-thirties and years away from becoming the sweater-wearing sage of The Cosby Show, is hip and relaxed in the presence of Cavett, who at other times comes off as stiff and ill at ease. Meanwhile, other guests range from veteran actress Ruth Gordon and cheeky film critic Rex Reed to the two sullen young stars of the film "Zabriskie Point," who manage to bring the proceedings to a grinding halt. Bonus features, as is the case with Shout Factory's various other Cavett compilations, include Cavett's new introductions to each show, along with interviews, outtakes, and more. --Sam Graham

Ludens Wild Cherry Flavored Cough Drops (20 count). 20 packs with 14 cough drops per box. Great tasting Wild Cherry Flavored luden's cough drops with pectin and oral demulcent.

Two episodes: #20 on Oct. 21, 1968, Flip Wilson rejoins the cast along with Van Johnson, Greer Garson and Liberace, who bets his Bippy & loses. Laugh-In lovelies introduce the news as African witch doctors. JoAnne finally gets the opportunity to sing a ballad during which she is joined by the full cast along with much of the staff, half of the crew, dogs, ponies a chimp and a live turkey. (In 144 shows, this is the only time we ever attempted a ballad and we never did it again.) In Episode #27 Dec.30, 1968 to end the year on a high note, Laugh-In looks at the highlights of 1968 Political campaign then goes to a New Years Eve party that will long be remembered in the back alleys of Burbank. Vincent Price revises his famous Dr. Frankenstein character; Lena Horne plays the "Laugh-In Name Game" With Cyd Charisse & Sid Ceasar.

SMOTHERS BROTHERS Autograph Signed 20x25 FRAMED Album

SMOTHERS BROTHERS Autographed Signed USA FLAG Guitar

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A dramatic behind-the-scenes look at the rise and fall of The Smothers Brothers Comedy Hour—the provocative, politically charged program that shocked the censors, outraged the White House, and forever changed the face of television. Decades before The Daily Show, The Smothers Brothers Comedy Hour proved there was a place on television for no-holds-barred political comedy with a decidedly antiauthoritarian point of view. Censorship battles, mind-blowing musical performances, and unforgettable sketches defined the show and its era. In this compelling history, veteran entertainment journalist David Bianculli draws on decades worth of original research, including extensive interviews with Tom and Dick Smothers and dozens of other key players, to tell the fascinating story of the show’s three-year network run—and the cultural impact that’s still being felt today.

A dramatic behind-the-scenes look at the rise and fall of The Smothers Brothers Comedy Hour—the provocative, politically charged program that shocked the censors, outraged the White House, and forever changed the face of television. Decades before The Daily Show, The Smothers Brothers Comedy Hour proved there was a place on television for no-holds-barred political comedy with a decidedly antiauthoritarian point of view. Censorship battles, mind-blowing musical performances, and unforgettable sketches defined the show and its era. In this compelling history, veteran entertainment journalist David Bianculli draws on decades worth of original research, including extensive interviews with Tom and Dick Smothers and dozens of other key players, to tell the fascinating story of the show’s three-year network run—and the cultural impact that’s still being felt today.

At age 10, Steve Martin got a job selling guidebooks at the newly opened Disneyland. In the decade that followed, he worked in Disney's magic shop, print shop, and theater, and developed his own magic/comedy act. By age 20, studying poetry and philosophy on the side, he was performing a dozen times a week, most often at the Disney rival, Knott's Berry Farm. Obsession is a substitute for talent, he has said, and Steve Martin's focus and daring--his sheer tenacity--are truly stunning. He writes about making the very tough decision to sacrifice everything not original in his act, and about lucking into a job writing for The Smothers Brothers Show. He writes about mentors, girlfriends, his complex relationship with his parents and sister, and about some of his great peers in comedy--Dan Ackroyd, Lorne Michaels, Carl Reiner, Johnny Carson. He writes about fear, anxiety and loneliness. And he writes about how he figured out what worked on stage. This book is a memoir, but it is also an illuminating guidebook to stand-up from one of our two or three greatest comedians. Though Martin is reticent about his personal life, he is also stunningly deft, and manages to give readers a feeling of intimacy and candor. Illustrated throughout with black and white photographs collected by Martin, this book is instantly compelling visually and a spectacularly good read. Amazon.com Exclusive Three Bonus Deleted Passages from Steve Martin's Born Standing Up On Returning to Disneyland Ten years later, after the Beatles, drugs, and Vietnam had changed the entire tenor of American life, I returned to the magic shop at Disneyland and stood as a stranger. As I looked around the eerily familiar room another first came over me, a previously unknown emotion, one that was to have a curious force over me for the rest my life: the longing tug of nostalgia. Looking at the counter where I pitched Svengali Decks and the Incredible Shrinking Die, I was awash with the recollection of indelible nights where the sky was blown open by fireworks and big band sounds drifted through trees strung with fairy lights. I remembered my youth, when every moment was crisply present, when heartbreak and joy replaced each other quickly, fully and without trauma. Even now when I visit Disneyland, I am steeped in melancholy, because a corporation has preserved my nostalgia impeccably. Every nail and screw is the same, and Disneyland looks as new now as it did then. The paint is fresh, and the only wear allowed is faux. In fact, only I have changed. In the dream-like world of childhood memories, so often vague and imprecise, Disneyland remains for me not only vivid in memory, but vivid in fact. On Meeting Diane Hall During the day, I attended Santa Ana Junior College, taking drama classes and pursuing an unexpected interest in English poetry from Donne to Eliot. I would occasionally assist on a college stage production--never appearing in one--as a member of the crew. Years later I was looking through a box of memorabilia and noticed a silk-screened playbill of the musical Carousel, May, 1964, which listed me as a stagehand. The lead actress was Diane Hall. Something connected and I remembered that Diane Keaton's name was once Hall, (hence, Annie Hall). I confirmed with her that she was in that production. Neither of us remembers meeting the other, yet we must have worked in proximity. More evidence that I was a wallflower. Decades later, we ended up "making love" on the floor of a movie set on Father of the Bride. On the Kennedy Assassination One Friday in 1963, I had finished a class and was about to drive to Knott's Berry Farm for the afternoon shows when I saw a clump of agitated students across the campus. I asked someone what was going on. "They're saying that the president's been shot." I drove across town to Knott's and punched radio buttons. I could hear the scheduled programs clicking off and being replaced by live broadcasts. Assassination seemed so ancient and inconceivable, I was sure that someone would soon correct the erroneous report. President Kennedy died that day and I didn't know that news could be taken so personally by a nation. Sitting backstage, watching the Birdcage's black-and-white TV drone out the increasingly grave report, we were all mute. We assumed the performance that night would be canceled, but as show time neared, word came down that we were going on. We couldn't fathom why; we believed no one would show up, much less enjoy us. I still can't explain the psychology, why the very full house that night was able to roar with laughter. The obvious must be correct: our silly show was providing some kind of balm that soothed the ache. In 2003 I hosted the Oscars on the particular weekend that the United States invaded Iraq. The news was grim and just hours before the show I flipped on the TV and saw a report, subsequently proven false, that our captive soldiers were being beheaded. I quickly turned the TV off, sick. I knew, from my experience forty years earlier with the Kennedy assassination, what my job was, and I harbored a secret knowledge that the audience would laugh. I also felt that soldiers who might be watching would be tuning in to see the Oscars and all its hoopla, not a cheerless comedian doing what he doesn’t do best. I decided to acknowledge the circumstances early in the show and then get on with the jokes. The academy had announced that the show would "cut back on the glitz." I walked out for the opening monologue, took a look around the stage at the dazzling, swirling staircases, mirrored curtains and polished floor, and simply said, "I'm glad they cut back on the glitz." It got a laugh of relief and the show could go on. More from Steve Martin The Alphabet from A to Y with Bonus Letter Z! Shopgirl The Pleasure of My Company Picasso at the Lapin Agile and Other Plays Pure Drivel Praise for Born Standing Up "[A] lean, incisive new book about the trajectory of [Martin's] life in comedy...Born Standing Up does a sharp-witted job of breaking down the step-by-step process that brought Steve Martin from Disneyland, where he spent his version of a Dickensian childhood as a schoolboy employee, to both the pinnacle of stardom and the brink of disaster...tightly focused...Born Standing Up is a surprising book: smart, serious, heartfelt and confessional without being maudlin." --Janet Maslin, The New York Times "Absolutely magnificent. One of the best books about comedy and being a comedian ever written." --Jerry Seinfeld, GQ "The writing is evocative, unflinching and cool. When Martin takes a scalpel to his life, what you feel is the precision of the surgeon more than the primal scream of the unanaesthetized patient...Born Standing Up is neither fanfare nor confession. It gives off a vibe of rigorous honesty. With lots of laughs." --Richard Corliss, Time Magazine "A spare, unexpectedly resonant remembrance of things past…Martin's one true subject is the evolution of his comedy--the transcendent moments...A smart, gentlemanly, modest book…winning." --Jeff Giles, Entertainment Weekly, EW Pick: A "A charming memoir tracking what the great comic characterizes as his 'war years.' Martin offers an eloquent and exacting account... [and] approaches his subjects with generosity, warmth and integrity." --Kirkus Reviews "Sure to delight fans and create new ones." --Laura Mathews, Good Housekeeping "What fun to discover the humble beginnings of some of his iconic personas...inspiring." --Rachel Rosenblit, Elle "The archetypical story of the underdog's rise and a particularly American story...beautifully written, honest, engaging, and quietly brave." --Frederic Tuten, Bomb Magazine "Son, you have an ob-leek sense of humor." --Elvis Presley

The Emmy and Grammy Award-winner's candid, spectacularly amusing memoir of his years in stand-up In the mid-seventies, Steve Martin exploded onto the comedy scene. By 1978 he was the biggest concert draw in the history of stand-up. In 1981 he quit forever. Born Standing Up is, in his own words, the story of "why I did stand-up and why I walked away." At age ten Martin started his career at Disneyland, selling guidebooks in the newly opened theme park. In the decade that followed, he worked in the Disney magic shop and the Bird Cage Theatre at Knott's Berry Farm, performing his first magic/comedy act a dozen times a week. The story of these years, during which he practiced and honed his craft, is moving and revelatory. Martin illuminates the sacrifice, discipline and originality that made him an icon and informs his work to this day. To be this good, to perform so frequently, was isolating and lonely. It took Martin decades to reconnect with his parents and sister, and he tells that story with great tenderness. Martin also paints a portrait of his times: the era of free love and protests against the war in Vietnam, the heady irreverence of The Smothers Brothers Comedy Hour in the late sixties, and the transformative new voice of Saturday Night Live in the seventies.