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* IncrediblyLamePun: The last line of "One Hippopotami":
-->With someone you adore,\\
If you should find romance,\\
You'll pant, then pant once more\\
[[PunctuatedForEmphasis And that's! A! Pair! Of! PANTS!!]]


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* {{Pun}}: The last line of "One Hippopotami":
-->With someone you adore,\\
If you should find romance,\\
You'll pant, then pant once more\\
[[PunctuatedForEmphasis And that's! A! Pair! Of! PANTS!!]]
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* FunnyXRay: "I See Bones" is all about this, including a list of all the unlikely things the doctor sees while looking at an X-ray of a patient's body.
-->I see hips\\
And fourteen paper clips\\
Three asparagus tips\\
Among the lovely bones
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* ArtisticLicenseGeography: In "America's a Nice Italian Name", the line "In Rome, the opera house is called La Scala." La Scala is actually in Milan (they still call it La Scala in Rome, it's just not located there).

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* ArtisticLicenseGeography: In "America's a Nice Italian Name", the line "In Rome, the "The opera house in Rome is called La Scala." La Scala is actually in Milan (they still call it La Scala in Rome, it's just not located there).
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* JewishSmartass: While this wasn't the dominant part of his comedic persona, it was still one of the main components.
-->'''From the intro to his ''Goldeneh Moments from Broadway'' set''': "It occurred to me, what if all of the great hit songs from all of the great Broadway shows had actually been written by Jewish people?...Which they were."


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* NaturalizedName:
** His very first released parody, "Jake's Song" in 1951, is based around the notion that the title character of "Sam's Song" (a big hit for Music/BingCrosby and his son Gary in 1950) was actually a Jewish man named Jake who changed his name.
** "Seventy-Six Sol Cohens", one of his early Broadway parodies (of [[Theatre/TheMusicMan "Seventy-Six Trombones"]]) has all of the Sols "change their name to Quinn."

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* ArtisticLicenseGeography: In "America's a Nice Italian Name", the line "In Rome, the opera house is called La Scala." La Scala is actually in Milan (they still call it La Scala in Rome, it's just not located there).



* SongParody: He began writing them in college, and became the first American pop singer to achieve mass success performing them. What's interesting is that he took several different approaches to parodies. A few just rewrote the originals into a different context ("Shake Hands with Your Uncle Max" is "Dear Old Donegal" switched from an idealized Irish to a modern American Jewish setting, including the "long list of names" section). Most others just completely subverted the originals. And there were also WithLyrics versions of familiar instrumental melodies (most famously "Hello Mudduh, Hello Fadduh").

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* SelfDeprecation:
** A major part of his stage banter in live shows, His favorite running gag was that he actually used to look exactly like Creator/CaryGrant, but his handlers advised him to gain weight and wear glasses because it worked better for the image of a comedic singer.
** The closing lines of "An Average Song" admit that the song is "not too good".
* SongParody: He began writing them in college, and became the first American pop singer to achieve mass success performing them. What's interesting is that he took several different approaches to parodies. A few just rewrote the originals into a different context ("Shake Hands with Your Uncle Max" is "Dear Old Donegal" switched from an idealized Irish to a modern American Jewish setting, including the "long list of names" section). Most others just completely subverted the originals. And there were also WithLyrics versions of familiar instrumental melodies (most famously "Hello Mudduh, Hello Fadduh").Fadduh!").
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* LaterInstallmentWeirdness[=/=]NewSoundAlbum: His last major album, 1967's ''Togetherness'', was not recorded in a front of a studio audience and featured on the cover a slim Sherman wearing contacts, looking quite different from the fat, glass wearing man of a few years prior. Many of the parodies used musical arrangements that closely emulated those of the original hit versions of the parodied songs, which Sherman didn't usually do. The previous year, he issued the single "Odd Ball"/"His Own Little Island", both serious songs, in an ill-fated attempt to position himself as a straight pop singer.

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* LaterInstallmentWeirdness[=/=]NewSoundAlbum: His last major album, 1967's ''Togetherness'', was not recorded in is a front of straight studio recording without a studio audience audience, and featured on the cover a slim Sherman wearing contacts, looking quite different from the fat, glass wearing man of a few years prior. Many of the It also featured several parodies of very recent hits ("Westchester Hadassah" for "Winchester Cathedral", "Strange Things in My Soup" for [[Music/FrankSinatra "Stangers in the Night"]]), which he now had the greenlight to do from the Warner legal department, and a lot of them used musical arrangements that closely emulated those of the original hit versions of the parodied songs, versions, which Sherman didn't usually do. The previous year, he issued the single "Odd Ball"/"His Own Little Island", both serious songs, in an ill-fated attempt to position himself as a straight pop singer.

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* PuppyLove: ''I Can't Dance'' is about a pair of cute, awkward middle-schoolers falling in love at a school dance.



* PuppyLove: ''I Can't Dance'' is about a pair of cute, awkward middle-schoolers falling in love at a school dance.
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* SongParody

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* SongParodySongParody: He began writing them in college, and became the first American pop singer to achieve mass success performing them. What's interesting is that he took several different approaches to parodies. A few just rewrote the originals into a different context ("Shake Hands with Your Uncle Max" is "Dear Old Donegal" switched from an idealized Irish to a modern American Jewish setting, including the "long list of names" section). Most others just completely subverted the originals. And there were also WithLyrics versions of familiar instrumental melodies (most famously "Hello Mudduh, Hello Fadduh").
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Born in Chicago to two first-generation Jewish immigrants from Poland, he had a varied career encompassing music, scriptwriting, creating, producing and even acting (including a turn as the voice of the Cat in the Hat in the [[WesternAnimation/TheCatInTheHat 1971 animated adaptation]] of the famous Creator/DrSeuss book, as well as ''Dr. Seuss On the Loose'').

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Born in Chicago UsefulNotes/{{Chicago}} to two first-generation Jewish immigrants from Poland, he had a varied career encompassing music, scriptwriting, creating, producing and even acting (including a turn as the voice of the Cat in the Hat in the [[WesternAnimation/TheCatInTheHat 1971 animated adaptation]] of the famous Creator/DrSeuss book, as well as ''Dr. Seuss On the Loose'').
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* BrickJoke: In "The Ballad of Harry Lewis", "His name was Harry Lewis and he worked for Irving Roth...He died while cutting velvet" in the first verse just seems like a mildly amusing change to the lyrics of "Battle Hymn of the Republic" into something silly and mundane. But you get to the start of the second verse and realize it was the setup for an epic {{Pun}}.
-->He was trampling through the warehouse\\
Where the drapes of Roth are stored [[labelnote:Explanation]]Instead of "He is trampling out the vintage where the grapes of wrath are stored."[[/labelnote]]
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* NomDeMom: He was born Allan Copelon in 1924 to Percy Copelon[[note]]born Peretz Kaplan in Poland in 1896, but his family Anglicized their name to Coplon when they emigrated to the US in 1901, then Percy changed the spelling to Copelon after he got married. [[IHaveManyNames He also bounced between Percy and Perry as a first name]].[[/note]] and Rose Sherman, then found himself having to change his surname a few times among his mother's many divorces and remarriages as he was growing up, before finally adopting her maiden name as he entered show business. Sherman not being a specifically Jewish-coded name (though it had been her family's name in the old country) likely helped him reach a broader audience.

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* NomDeMom: He was born Allan Copelon in 1924 to Percy Copelon[[note]]born Peretz Kaplan in Poland in 1896, but his family Anglicized their name to Coplon when they emigrated to the US in 1901, then Percy changed the spelling to Copelon after he got married. [[IHaveManyNames He also bounced between Percy and Perry as a first name]].[[/note]] and Rose Sherman, then found himself having to change his surname a few times among his mother's many divorces and remarriages as he was growing up, before finally adopting her maiden name as up. He chose to go by Sherman when he entered show business. college, largely out of affection for his maternal grandparents (who he lived with at several points). Interestingly, he switched back to Copelon shortly after that, when he reconnected with his birth father (who was now a successful auto parts manufacturer), who promised to give Allan money for school if he changed his name back. But Percy Copelon never gave him the money, and in a MeaningfulRename situation Allan symbolically rejected his father by going back to Sherman once and for all. Sherman not being a specifically Jewish-coded name (though it had been her family's name in the old country) likely helped him reach a broader audience.audience in his show business career.

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In the course of his career, Sherman turned his hand to scriptwriting, creating, producing and even acting (including a turn as the voice of the Cat in the Hat in the [[WesternAnimation/TheCatInTheHat 1971 animated adaptation]] of the famous Creator/DrSeuss book, as well as ''Dr. Seuss On the Loose'').

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In the course of his career, Sherman turned his hand Born in Chicago to two first-generation Jewish immigrants from Poland, he had a varied career encompassing music, scriptwriting, creating, producing and even acting (including a turn as the voice of the Cat in the Hat in the [[WesternAnimation/TheCatInTheHat 1971 animated adaptation]] of the famous Creator/DrSeuss book, as well as ''Dr. Seuss On the Loose'').



** "Shake Hands with your Uncle Max" and "Sarah Jockman" both have sections with obscenely long lists of relatives.

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** "Shake Hands with your Uncle Max" and "Sarah Jockman" Jackman" both have sections with obscenely long lists of relatives.


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* NomDeMom: He was born Allan Copelon in 1924 to Percy Copelon[[note]]born Peretz Kaplan in Poland in 1896, but his family Anglicized their name to Coplon when they emigrated to the US in 1901, then Percy changed the spelling to Copelon after he got married. [[IHaveManyNames He also bounced between Percy and Perry as a first name]].[[/note]] and Rose Sherman, then found himself having to change his surname a few times among his mother's many divorces and remarriages as he was growing up, before finally adopting her maiden name as he entered show business. Sherman not being a specifically Jewish-coded name (though it had been her family's name in the old country) likely helped him reach a broader audience.
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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee in 1951, "A Satchel and a Seck" and "Jake's Song" [[note]](each was released on a separate single with flip sides not featuring Sherman, but confusion about the rare songs often leads to sources wrongly conflating them into one single)[[/note]], were more overtly Jewish-themed than his later material, with Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing in Yiddish words.

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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee Records in 1951, credited as "Eln Shoyman": "A Satchel and a Seck" and "Jake's Song" [[note]](each was Song".[[note]] Often mistakenly listed as two sides of a single record, but they were actually released on a separate single singles with flip sides not featuring Sherman. Jubilee ''did'' pair the songs on a [[https://www.discogs.com/release/13940285-Allan-Sherman-Son-Jake-Jakes-Song reissued 45]] in TheSixties, credited to Allan Sherman, as a cash-in after he became famous, in conjunction with an album that included the two songs along with other BorschtBelt comedy material from the label's vaults, but this led to confusion about the rare songs often leads to sources and people wrongly conflating them into one single)[[/note]], were assuming they'd been released that way in their original issues.[[/note]] They're more overtly Jewish-themed than his later material, with a much smoother-voiced Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing tossing in some Yiddish words.words as well.
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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee in 1951, "A Satchel and a Seck" and "Jake's Song" [[note]](each was released on a separate single with flip sides not featuring Sherman, but confusion about the rare songs often lead to sources wrongly conflating them into one single)[[/note]], were more overtly Jewish-themed than his later material, with Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing in Yiddish words.

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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee in 1951, "A Satchel and a Seck" and "Jake's Song" [[note]](each was released on a separate single with flip sides not featuring Sherman, but confusion about the rare songs often lead leads to sources wrongly conflating them into one single)[[/note]], were more overtly Jewish-themed than his later material, with Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing in Yiddish words.

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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee in 1951, "A Satchel and a Seck" and "Jake's Song" [[note]](each was released on a separate single with flip sides not featuring Sherman, but most sources that bother mentioning those songs conflate them into one single)[[/note]], were more overtly Jewish-themed than his later material, with Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing in Yiddish words.

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* EarlyInstallmentWeirdness: The two songs he recorded for Jubilee in 1951, "A Satchel and a Seck" and "Jake's Song" [[note]](each was released on a separate single with flip sides not featuring Sherman, but most confusion about the rare songs often lead to sources that bother mentioning those songs conflate wrongly conflating them into one single)[[/note]], were more overtly Jewish-themed than his later material, with Sherman (credited as "Eln Shoyman") singing in a Yiddish accent and throwing in Yiddish words.


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* JewishAndNerdy: In his heyday, his NerdGlasses, crew cut and suits, combined with the often wonkish subject matter of his songs, easily put his artistic profile into this category.
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With [[Film/{{Fame}} Albert Hague]], he cowrote the 1969 Broadway musical ''[[http://en.wikipedia.org/wiki/The_Fig_Leaves_Are_Falling The Fig Leaves Are Falling]]'', which is notable for two things: the Broadway debut of Creator/DavidCassidy (later of ''Series/ThePartridgeFamily''), and [[ShortRunner closing after only four performances]]. He also guest-hosted ''Series/TheTonightShow'' on several occasions, including the night Creator/BillCosby made his first appearance on the show; he would later be credited as co-producer on Cosby's first three albums for Creator/WarnerBrosRecords.

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With [[Film/{{Fame}} Albert Hague]], he cowrote the 1969 Broadway musical ''[[http://en.wikipedia.org/wiki/The_Fig_Leaves_Are_Falling The Fig Leaves Are Falling]]'', which is notable for two things: the Broadway debut of Creator/DavidCassidy (later of ''Series/ThePartridgeFamily''), and [[ShortRunner [[ShortRunners closing after only four performances]]. He also guest-hosted ''Series/TheTonightShow'' on several occasions, including the night Creator/BillCosby made his first appearance on the show; he would later be credited as co-producer on Cosby's first three albums for Creator/WarnerBrosRecords.

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