(Applause Books). Groucho Marx was a comic genius who starred on stage and in film, radio, and television. But he was also a gifted writer the author of a play, two screenplays, seven books, and over 100 articles and essays. This newly expanded collection presents the best of Groucho's short comic pieces, written over a period of more than fifty years between 1919 and 1973 for the New York Times , the New Yorker , the Saturday Evening Post , Variety , the Hollywood Reporter , and other newspapers and magazines. Here is the one and only Groucho on his family, his days in vaudeville, his career, World War II, taxes, and other topics from his love of a good cigar to his chronic insomnia, from "Why Harpo Doesn't Talk" to "The Truth About Captain Spalding." The familiar irreverence, wordplay, and a dash of self-deprecation bring Groucho's wisecracking voice to life in these pages, firmly establishing him as one of the world's great humorists. Groucho Marx and Other Short Stories and Tall Tales (a title of Groucho's own choosing) is essential reading for Marx Brothers fans, and a hilarious and nostalgic trip through the twentieth century.
This collection of Groucho's most side-achingly funny pieces is a must for any Groucho fan and for all who love to laugh. Groucho was a comic genius who conquered stage, film, radio, and television--but he was also a gifted writer of these short pieces, which appeared in the New York Times, the Saturday Evening Post and Variety, among others.
Featuring the works from Marx's enormous corpus, this title covers Marx's development from the Hegelian idealism of his youth to the mature socialism of his later works. It includes writings from Marx's early philosophical works, and the central writings on historical materialism.
Groucho Marx may be the funniest man who ever lived. Here in one volume are the classics of Marxian mayhem: excerpts from the scripts of the immortal movies, passages from his books, his articles for magazines ranging from The New Yorker to the Saturday Evening Post, the choicest ad-libs and quips from his long-running game show, You Bet Your Life, and selected letters, including his classic correspondence with T. S. Eliot. It's all here-the finest and funniest work by this century's most influential comedian, that man of whom Woody Allen said, "He is simply unique in the same way Picasso and Stravinsky are, and I believe his outrageous, unsentimental disregard for order will be equally funny a thousand years from now. In addition to all this, he makes me laugh." In the words of Groucho Marx: One morning I shot an elephant in my pajamas. How he go in my pajamas I don't know. Time flies like an arrow. Fruit flies like a banana. Outside of a dog, a book is man's best friend. Inside of a dog, it's too dark to read.
I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.
Donated to the Library of Congress in the mid-1960s, Groucho Marx's correspondence was first crafted into this celebration of wit and wisdom in 1967. Reissued today with his original letters and humor intact, The Groucho Letters exposes one of the twentieth century's most beloved comedian's private insights into show biz, politics, business, and, of course, his illustrious personal life. Included are Marx's conversations with such noted personalities as E. B. White, Fred Allen, Goodman Ace, Nunnally Johnson, James Thurber, Booth Tarkington, Alistair Cooke, Harry Truman, Irving Berlin, and S. J. Perelman. To Confidential Magazine Gentlemen: If you continue to publish slanderous pieces about me, I shall feel compelled to cancel my subscription. Sincerely, Groucho Marx
Susan Fleming appeared in three Broadway shows and twenty-eight films before she turned her back on a show business career she never really enjoyed or wanted. The role of her lifetime came when she married Harpo Marx in 1936. Together, they raised four adopted children and enjoyed one of Hollywood's happiest and most successful unions. But their twenty-year age difference made Susan a young widow in 1964. On her path to Hollywood, Susan worked in Broadway musicals produced by Florenz Ziegfeld and George White and befriended a young dancer who would later be known as Paulette Goddard. In Hollywood, she appeared in films with stars like John Wayne, W.C. Fields, and Katharine Hepburn and worked at all the major studios. But it wasn't until she fell in love with a confirmed bachelor, twenty years older than her, that she found her purpose. Her story is the counterpoint to the beloved and acclaimed Harpo Marx autobiography, Harpo Speaks! Susan's frank, opinionated perspective provides a true look behind the curtain and details Harpo's last years, following the publication of his own book. Susan's account of her more than thirty-year adventure with Harpo includes encounters with people like Charlie Chaplin, William Randolph Hearst, Salvador Dalí, Somerset Maugham, Joan Crawford, Howard Hughes, George S. Kaufman, Helen Keller, Oscar Levant, Jean Harlow, Bugsy Siegel, Samuel Goldwyn, Menachem Begin, Ginger Rogers, Alexander Woollcott, and of course, the Marx Brothers. Susan provides an inside look at the family and pulls no punches when discussing her brothers-in-law, who weren't always her favorite comedians.
Titans of Bass: The Tactics, Habits, and Routines from over 130 of the World's Best reveals the experiences of over 130 of the world's top bassists to help the beginning bassist learn and play their first song. Picking up an instrument for the first time can be a confusing, frustrating experience, but KJ Jenson consulted the best players to give readers an inside look and a running start at the bass guitar. Navigate the first steps of taking on the bass, such as which songs to learn, what to practice every day to enhance skills, and which musicians to emulate. From over 130 interviews of the best bassists, KJ Jenson lends the perspectives of musical heroes on how they conquered the bass. Titans of Bass includes interviews with bass wizards such as Justin Chancellor (Tool), Billy Sheehan, Ron Carter, John Patitucci, Geezer Butler (Black Sabbath), Nathan East, Snow Owl, Abraham Laboriel, Sean Lennon, Leland Sklar, George Porter Jr., Christian McBride, Jack Casady, Stuart Hamm, Verdine White, Bill Laswell, and over 125 more.
A critical and comprehensive exploration of the influential Broadway musical analyzes West Side Story against a backdrop of its cultural period while considering its reflection of both classical Shakespeare conflicts and modern youth issues. Original.
