The huge national popularity of "redneck" comedian Larry the Cable Guy raises two intimately related questions: Why does his particular style of humor resonate so strongly with white Americans? And why do mainstream white social and cultural critics tend to see him as either negative or meaningless? Although Larry has been the highest paid comedian in the country during the mid-2000s, critics have dismissed him with epithets such as "racist," "slightly dim," and "100 percent Republican." His work has elicited no academic interest; the implication is that he represents a phenomenon not worthy of serious study. In his act, Larry represents a southern, white, working-class American man. As such, he represents a cultural convergence that's often vilified, but rarely investigated. The incongruities he evokes within the national hegemonic discourse of classless white superiority suggest that white America is not monolithic. Issues around multiculturalism, and the increasing contradictions within American society related to integration versus cultural integrity make an understanding of the factors contributing to Larry's popularity important to any understanding of our cultural reality. It’s possible that cultural intellectuals who continue to ignore, or actively minimize the contribution of, Larry and his ilk run the risk of sorely misunderstanding a major thread in the dominant culture of the globe’s most powerful nation. In an attempt to take seriously the cultural significance of the popularity of Larry the Cable Guy, this thesis reviews the literature of race, class and region relevant to aspects of his comedy, analyzes one of his recoded performances and presents an overview of mainstream criticism of his work.