A few stories with a bit of perspective and weird nonsense to fill your noggin. I'm not promising any laughs but this is definitely a unique take on what it takes to be alive. From the harsh reality of relationships to the depths of disgusting crude material. This book dives into the obscure notion of what it is to be funny. Packed will all sorts of crazy comedic attempts at satisfying a consumer like you. So get ready to have your brain wobbled in this bizarre witty collection.
Discover the riveting, hilarious true story of the birth of Comedy Central in what New York Times bestselling author, Dan Lyons, calls the “funniest behind-the-scenes memoir I’ve ever read, full of crazy characters, plot twists, and suspense.” Award-Winning Finalist in the Narrative: Non-Fiction category of the 2020 Best Book Awards sponsored by American Book Fest In 1988, a young, mid-level employee named Art Bell pitched a novel concept—a television channel focused 100% on just one thing: comedy—to the chairman of HBO. The station that would soon become Comedy Central, with celebrated programs like South Park, Chapelle’s Show, The Daily Show, and The Colbert Report, was born. Constant Comedy takes readers behind the scenes into the comedy startup on its way to becoming one of the most successful and creative purveyors of popular culture in the United States. From disastrous pitch meetings with comedians to the discovery of talents like Bill Maher and Jon Stewart, this intimate biography peers behind the curtain and reveals what it’s really like to work, struggle, and ultimately succeed at the cutting edge of show business.
A psychiatric case study masquerading a fancy-pants graphic novel, Misery Loves Comedy collects Ivan Brunetti's early issues (no pun intended) wait, let's rephrase that. Misery Loves Comedy collects the first three issues of the legendary comic book series Schizo in their entirety, as well as a host of miscellaneous flotsam and jetsam from various anthologies, c. 1992-2005. Readers will find the author's unwitting self-caricature as a paranoid, deluded young man intriguingly repugnant and often chuckle-inducing. Besides Brunetti's trademark nihilism, self-loathing, relentless depression, and inchoate, spittle-soaked misanthropy, these earlier comics offer a dollop of scatology and blasphemy for that extra puerile, lowbrow tang. These are comics for those who enjoy witnessing one man's sanity in its final death rattle, swinging its tail from anhedonia to schadenfreude and back again. Also: lots and lots of filthy jokes. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 13.9px Arial; color: #424242}
From former SNL "Weekend Update" host and legendary stand-up Colin Quinn comes a controversial and laugh-out-loud investigation into cultural and ethnic stereotypes. Colin Quinn has noticed a trend during his decades on the road-that Americans' increasing political correctness and sensitivity have forced us to tiptoe around the subjects of race and ethnicity altogether. Colin wants to know: What are we all so afraid of? Every ethnic group has differences, everyone brings something different to the table, and this diversity should be celebrated, not denied. So why has acknowledging these cultural differences become so taboo? In The Coloring Book, Colin, a native New Yorker, tackles this issue head-on while taking us on a trip through the insane melting pot of 1970s Brooklyn, the many, many dive bars of 1980s Manhattan, the comedy scene of the 1990s, and post-9/11 America. He mixes his incredibly candid and hilarious personal experiences with no-holds-barred observations to definitively decide, at least in his own mind, which stereotypes are funny, which stereotypes are based on truths, which have become totally distorted over time, and which are actually offensive to each group, and why. As it pokes holes in the tapestry of fear that has overtaken discussions about race, The Coloring Book serves as an antidote to our paralysis when it comes to laughing at ourselves . . . and others.
Home of the most popular one-act plays for student actors, Playscripts, Inc. presents 15 of their very best short comedies. From a blind dating debacle to a silly Shakespeare spoof, from a fairy tale farce to a self-hating satire, this anthology contains hilarious large-cast plays that have delighted thousands of audiences around the world. Includes the plays The Audition by Don Zolidis, Law & Order: Fairy Tale Unit by Jonathan Rand, 13 Ways to Screw Up Your College Interview by Ian McWethy, Darcy's Cinematic Life by Christa Crewdson, The Whole Shebang by Rich Orloff, A Funny Thing Happened on the Way to Fifth Period by Jason Pizzarello, Small World by Tracey Scott Wilson, The Absolute Most Cliched Elevator Play in the History of the Entire Universe by Werner Trieschmann, The Seussification of Romeo and Juliet by Peter Bloedel, Show and Spell by Julia Brownell, Cut by Ed Monk, Check Please by Jonathan Rand, Aliens vs. Cheerleaders by Qui Nguyen, The Brothers Grimm Spectaculathon by Don Zolidis, 15 Reasons Not To Be in a Play by Alan Haehnel
All humans laugh. However, there is little agreement about what is appropriate to laugh at. While laughter can unite people by showing how they share values and perspectives, it also has the power to separate and divide. Humor that "crosses the line" can make people feel excluded and humiliated. This collection of new essays addresses possible ways that moral and ethical lines can be drawn around humor and laughter. What would a Kantian approach to humor look like? Do games create a safe space for profanity and offense? Contributors to this volume work to establish and explain guidelines for thinking about the moral questions that arise when humor and laughter intersect with medicine, gender, race, and politics. Drawing from the work of stand-up comedians, television shows, and ethicists, this volume asserts that we are never just joking.
This star-studded tribute to the kings and queens of comedy draws together such legendary names as Steve Martin, Tina Fey, Steve Carell, Eddie Murphy, Robin Williams, Ricky Gervais, and many more. Granted extraordinary access, photographer Matt Hoyle has captured his subjects in portraits that are works of art in themselves—by turns zany and deadpan, laugh-out-loud and contemplative. Accompanying them are first-person reflections from each of the comedians on life and laughter that always cut straight to the heart of comedy: it's funny because it's true. Page after sidesplitting page in Comic Genius offers prose as engaging as each portrait is memorable. Here, in one handsome package, is the gift of laughter itself. Comic Genius is proud to support Save The Children.
He has written and produced comedy/talk shows for over fifteen years. Now four-time Emmy winner Joe Toplyn reveals his proven methods of writing for late-night television in this one-of-a-kind insider's guide. Toplyn analyzes each type of comedy piece in the late-night TV playbook and takes you step-by-step through the process of writing it. His detailed tips, techniques, and rules include: * 6 characteristics every good monologue joke topic must have* 6 specific ways to generate punch lines* 12 tools for making your jokes their funniest* 7 types of desk pieces and how to create them* 9 steps to writing parodies and other sketches * How to go after a writing job in late night* PLUS a complete sample comedy/talk show submission packetAlso use this comprehensive manual to write short-form comedy for the Internet, sketch shows, magazines, reality shows, radio, advertising, and any other medium.
Stand-Up Comedy in Theory, or, Abjection in America is the first study of stand-up comedy as a form of art. John Limon appreciates and analyzes the specific practice of stand-up itself, moving beyond theories of the joke, of the comic, and of comedy in general to read stand-up through the lens of literary and cultural theory. Limon argues that stand-up is an artform best defined by its fascination with the abject, Julia Kristeva’s term for those aspects of oneself that are obnoxious to one’s sense of identity but that are nevertheless—like blood, feces, or urine—impossible to jettison once and for all. All of a comedian’s life, Limon asserts, is abject in this sense. Limon begins with stand-up comics in the 1950s and 1960s—Lenny Bruce, Carl Reiner, Mel Brooks, Mike Nichols, Elaine May—when the norm of the profession was the Jewish, male, heterosexual comedian. He then moves toward the present with analyses of David Letterman, Richard Pryor, Ellen DeGeneres, and Paula Poundstone. Limon incorporates feminist, race, and queer theories to argue that the “comedification” of America—stand-up comedy’s escape from its narrow origins—involves the repossession by black, female, queer, and Protestant comedians of what was black, female, queer, yet suburbanizing in Jewish, male, heterosexual comedy. Limon’s formal definition of stand-up as abject art thus hinges on his claim that the great American comedians of the 1950s and 1960s located their comedy at the place (which would have been conceived in 1960 as a location between New York City or Chicago and their suburbs) where body is thrown off for the mind and materiality is thrown off for abstraction—at the place, that is, where American abjection has always found its home.
Kohen assembles America's most prominent comediennes to piece together an oral history about the revolution that happened to (and by) women in American comedy.
