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60 In Lauck and Goff’s handling, that worldview took in many traits not normally associated with southern mountaineers. Despite the strong accents and humorous verbal idiocy, the plots of the program reveal a strong current of commercialism in the old storekeepers. Far from being lazy or out of step with modernity, Lum and Abner constantly sought new financial opportunities, many of them in complete harmony with the latest American trends. And even though the ventures often resulted in hilarious missteps, the old fellows’ motivated, boosterish outlook flies in the face of conventional wisdom about hillbillies.

69 The humor of the program came through their struggles to survive the trickery of various schemers, including local ones such as Squire Skimp, outsiders with dubious motives, and Lum’s own fiscal braggadocio. Naturally, Lum and Abner always landed on their feet in one way or another. Sometimes their businesses involved visibly modern cultural undertakings. In 1935, for instance, they opened a movie theater (it later burned down). In the 1930s a movie house helped define a small town as being in step with modernity, and large circuses still traveled the railroads throughout the country, bringing wonders and spectacles even to small towns.

He explained, “The village community . . saw the rise of institutions, the church, the school, the market, and it is the desire for these institutions which brings together the dispersed farmers. . ”41 Ironically, in the South a group of intellectuals who steadfastly opposed sociological methods voiced a similar concern that the way of life in rural villages was under siege. “Twelve Southerners” centered around Vanderbilt University—including such writers as Robert Penn Warren, John Crowe Ransom, and Donald Davidson—published the anti-industrialist agrarian manifesto I’ll Take My Stand in 1930.

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Aero Shortwave Radio Transmitter


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