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Since then, comics like Allan Sherman, Victor Borge, the Smothers Brothers, Cheech & Chong and Steve Martin (remember “King Tut”?) have all achieved some degree of success by mixing song and shtick. The mix of music and comedy has been around as long as there have been songs, jokes and willing entertainers, and the novelty tune has been a staple of American pop culture at least since the madcap work of Spike Jones and his City Slickers in the 1940s.
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The message-loud, clear and lowbrow-has been renewed: It’s OK for music to be funny. And audiences across the country have howled at the band’s live shows, during which Manspeaker wears costumes as a sacred cow, a pumpkin and Fred Flintstone, among others.Īt the same time Jelly is wobbling toward stardom, the lines between what’s funny and what’s music are blurring elsewhere.Ĭomic Denis Leary has given himself a boost in the career with a scabrous ditty called “Asshole.” College-radio rockers King Missile have earned fans with an ode to convenient dismemberment called “Detachable Penis.” Rock trio Primus, who is part of this year’s “Lollapalooza” bill, temper their impressive technical chops with deadpan silliness on their current Top 10 album, “Pork Soda.” The video for Jelly’s comic retelling of “The Three Little Pigs” is played constantly on MTV. The group’s album “Cereal Killer” has gone gold and made the Top 25 on the national sales chart. That’s the secret of pop success of rock ‘n’ roll’s latest living cartoon-Green Jelly, according to lead singer Bill Manspeaker. “All you have to do is get on stage with a piece of foam on your head and act like an idiot.”