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Ralph: baby, you re the greatest. sara k. eskridge: we like to think of ourselves as a classless society. and in postwar america, that was more true than ever. but at the same time, there are all of these little tells. there s obviously your job. what kind of house you live in. what kind of clothes you wear. what kind of car you drive. opie: hey gomer! gomer: hey o! sara k. eskridge: but one of the biggest tells for class was actually a southern accent. opie: can i use your hose? gomer: help yourself, what s in there is free, we do make a charge for gas though. daniel de vise: and that north south divide became an inspiration for all of these rural sitcoms. [whistling] daniel de vise: the whistled theme, of the andy griffith show, coupled with that bucolic image of andy and opie makes you think of small-town americana in a simpler time. aunt bea: anybody ready for some lunch? andy and barney: we sure are. ....
Give me the cornbelt. daniel de vise: this blue collar vs white collar class divide extended to the critical reception that shows received in the 1960s. the dick van dyke show, they re wearing suits, they re in the big city. they got a trunk load of emmys. and the andy griffith show got almost none. thelma: you can t live up to your potential here. in a big city, you have room to grow and live a different kind of life. daniel de vise: and that right there shows you the class divide in america. andy: how can life be that much different. if you re happy? ....
Drew carey: andy griffith was a small-town sheriff. he didn t have a lot of money. and they were kind of simple. aunt bea: i m going to enter the competition after all. yessir, i m going to enter these pickles. opie: these? barney: these? andy: these? aunt bea: these. emily vanderwerff: that was like a fantasy of a world and an america in which race and class just kind of didn t exist. andy: ms. jennifer, ms. clarivel. marsha: it was probably the whitest show on television. i mean, there are no black people in mayberry. if they are, they re passing through. and if you blinked, you missed them. opie: they re ok, pa, they all flew off ok. guess i did a good job huh, pa? andy: you sure did, son. daniel de vise: the show immediately hit the top 10. it rated higher in the rural parts of the country. the main producer, sheldon leonard famously said, you can take new york, you can take la, ....
Elizabeth meriwether: but the characters were caricatures of rural people and it became very hokey. marsha: you looking at people sitting in their, high rise offices in new york. showing the north, what they thought people in the south were. daniel de vise: they all had pretty high ratings and cbs became known as the country broadcasting system. sara k. eskridge: but in the late 60s. the ratings and demographic tools improve significantly. and networks were able to see the ages, the education level. what kinds of jobs, ah, the people who were viewing the shows have. jennifer keishin armstrong: so, the more they could refine that, the more the advertisers wanted young, professional, wealthy people. jim mckairnes: in 1970, cbs begins what is both affectionately and derogatorily known as the rural purge. jeff garlin: they canceled all those shows that had huge ratings on cbs. ....
Daniel de vise: and norman lear, arrived to take their place with realistic shows about working class people, in the big city. edith: your father lost his job today. archie: oh, there goes the old ball game. rainn wilson: all in the family was able to deal with some stuff that was going on in contemporary society through the lens of comedy. archie: when the going gets tough, they say the tough gets going, and that s me, tough right? yeah, so what s the problem? gloria: so, what are you going to do daddy? archie: well, that s the problem. emily vanderwerff: norman lear is interested in class as a primary driver of storytelling in american life. florida: this is an eviction notice. kids: ain t nothing to worry about mamma. florida: what are you talking about? they said they are throwing us out today. diana depasquale: we have a recession at the beginning of the 70s. the working-class now more than ever before are facing, the crunch of economic anxiety. ....