The comedians of the 1950s and 1960s were a totally different breed of relevant, revolutionary performer from any that came before or after, comics whose humor did much more than pry guffaws out of audiences. Gerald Nachman presents the stories of the groundbreaking comedy stars of those years, each one a cultural harbinger: • Mort Sahl, of a new political cynicism • Lenny Bruce, of the sexual, drug, and language revolution • Dick Gregory, of racial unrest • Bill Cosby and Godfrey Cambridge, of racial harmony • Phyllis Diller, of housewifely complaint • Mike Nichols & Elaine May and Woody Allen, of self-analytical angst and a rearrangement of male-female relations • Stan Freberg and Bob Newhart, of encroaching, pervasive pop media manipulation and, in the case of Bob Elliott & Ray Goulding, of the banalities of broadcasting • Mel Brooks, of the Yiddishization of American comedy • Sid Caesar, of a new awareness of the satirical possibilities of television • Joan Rivers, of the obsessive craving for celebrity gossip and of a latent bitchy sensibility • Tom Lehrer, of the inane, hypocritical, mawkishly sentimental nature of hallowed American folkways and, in the case of the Smothers Brothers, of overly revered folk songs and folklore • Steve Allen, of the late-night talk show as a force in American comedy • David Frye and Vaughn Meader, of the merger of showbiz and politics and, along with Will Jordan, of stretching the boundaries of mimicry • Shelley Berman, of a generation of obsessively self-confessional humor • Jonathan Winters and Jean Shepherd, of the daring new free-form improvisational comedy and of a sardonically updated view of Midwestern archetypes • Ernie Kovacs, of surreal visual effects and the unbounded vistas of video Taken together, they made up the faculty of a new school of vigorous, socially aware satire, a vibrant group of voices that reigned from approximately 1953 to 1965. Nachman shines a flashlight into the corners of these comedians’ chaotic and often troubled lives, illuminating their genius as well as their demons, damaged souls, and desperate drive. His exhaustive research and intimate interviews reveal characters that are intriguing and all too human, full of rich stories, confessions, regrets, and traumas. Seriously Funny is at once a dazzling cultural history and a joyous celebration of an extraordinary era in American comedy.

Political jokes exist around the world and across many types of political systems. But what purposes do they serve? Do they have an impact on politics—or on politicians? Surprisingly, scholars have paid scant attention to these significant questions. And, until the publication of this book, no one had ever systematically studied political humor in Mexico. When the first edition of this work was published in Mexico, it caused a stir. Elected officials, it turned out, had grudgingly accepted that they and their politics could be the target of jokes uttered in public, and even on television, but they were incensed that a leading academic had collected political jokes into a book and analyzed their function in a country that had experienced nearly a century of one-party rule. Now available in English for the first time, Seriously Funny is a groundbreaking work. Its goal is to examine the ways in which political humor—including nicknames, anagrams, poems, and parodies of religious prayers, in addition to jokes—has developed and operated in one country over more than four centuries. Although political humor thrives in Mexico, it is often cleverly encoded so that it doesn’t appear to be critical of government policies or officials. But, writes Samuel Schmidt, that is precisely its purpose: to question the actions and assumptions of the party in power. Schmidt argues persuasively that political jokes are acts of minor rebellion: their objective is not to overthrow a government but to correct its mistakes.

To honor the twentieth anniversary of beloved comedienne Gilda Radner’s death from ovarian cancer comes a commemorative edition of her memoir, It’s Always Something—featuring a newly updated resource guide for people living with cancer and a tribute by Radner’s former colleagues at Saturday Night Live. As a cast member on the original Saturday Night Live, Gilda Radner created a compelling character named “Roseann Rosannadanna” who habitually ended her routine with the line, “It’s always something,” which was her father’s favorite expression about life. Radner chose the catch- phrase she made famous as the title to her brave, funny, and painfully honest memoir: the story of her struggle against cancer and her determination to continue laughing. Gilda’s Club, a network of affiliate clubhouses that seeks to provide a social and emotional support community to people living with cancer, was founded in Radner’s memory in 1991. The name of the organization comes from a remark Gilda once made, that cancer gave her “membership to an elite club I’d rather not belong to.” In partnership with Gilda’s Club, It’s AlwaysSomething includes valuable information for all whose lives havebeen touched by cancer and reminds us of the important place laughter has in healing. Told as only Gilda Radner could tell it, It’s Always Something is the inspiring story of a courageous, funny woman fighting to enjoy life no matter what the circumstances. She died in 1989. Gilda’s Club is distinguished by its unique philosophy and program, “cancer support for the whole family, the whole time.” Learn more about Gilda’s Club at GildasClub.org.

Acclaimed national security columnist and noted cultural critic Fred Kaplan looks past the 1960s to the year that really changed America While conventional accounts focus on the sixties as the era of pivotal change that swept the nation, Fred Kaplan argues that it was 1959 that ushered in the wave of tremendous cultural, political, and scientific shifts that would play out in the decades that followed. Pop culture exploded in upheaval with the rise of artists like Jasper Johns, Norman Mailer, Allen Ginsberg, and Miles Davis. Court rulings unshackled previously banned books. Political power broadened with the onset of Civil Rights laws and protests. The sexual and feminist revolutions took their first steps with the birth control pill. America entered the war in Vietnam, and a new style in superpower diplomacy took hold. The invention of the microchip and the Space Race put a new twist on the frontier myth. Vividly chronicles 1959 as a vital, overlooked year that set the world as we know it in motion, spearheading immense political, scientific, and cultural change Strong critical acclaim: "Energetic and engaging" (Washington Post); "Immensely enjoyable . . . a first-rate book" (New Yorker); "Lively and filled with often funny anecdotes" (Publishers Weekly) Draws fascinating parallels between the country in 1959 and today Drawing fascinating parallels between the country in 1959 and today, Kaplan offers a smart, cogent, and deeply researched take on a vital, overlooked period in American history.

A National Book Critics Circle finalist • One of People's top 10 books of 2021 • An instant New York Times bestseller • Named a best book of the year by NPR and Time A magnificent biography of one of the most protean creative forces in American entertainment history, a life of dazzling highs and vertiginous plunges—some of the worst largely unknown until now—by the acclaimed author of Pictures at a Revolution and Five Came Back Mike Nichols burst onto the scene as a wunderkind: while still in his twenties, he was half of a hit improv duo with Elaine May that was the talk of the country. Next he directed four consecutive hit plays, won back-to-back Tonys, ushered in a new era of Hollywood moviemaking with Who's Afraid of Virginia Woolf?, and followed it with The Graduate, which won him an Oscar and became the third-highest-grossing movie ever. At thirty-five, he lived in a three-story Central Park West penthouse, drove a Rolls-Royce, collected Arabian horses, and counted Jacqueline Kennedy, Elizabeth Taylor, Leonard Bernstein, and Richard Avedon as friends. Where he arrived is even more astonishing given where he had begun: born Igor Peschkowsky to a Jewish couple in Berlin in 1931, he was sent along with his younger brother to America on a ship in 1939. The young immigrant boy caught very few breaks. He was bullied and ostracized--an allergic reaction had rendered him permanently hairless--and his father died when he was just twelve, leaving his mother alone and overwhelmed. The gulf between these two sets of facts explains a great deal about Nichols's transformation from lonely outsider to the center of more than one cultural universe--the acute powers of observation that first made him famous; the nourishment he drew from his creative partnerships, most enduringly with May; his unquenchable drive; his hunger for security and status; and the depressions and self-medications that brought him to terrible lows. It would take decades for him to come to grips with his demons. In an incomparable portrait that follows Nichols from Berlin to New York to Chicago to Hollywood, Mark Harris explores, with brilliantly vivid detail and insight, the life, work, struggle, and passion of an artist and man in constant motion. Among the 250 people Harris interviewed: Elaine May, Meryl Streep, Stephen Sondheim, Robert Redford, Glenn Close, Tom Hanks, Candice Bergen, Emma Thompson, Annette Bening, Natalie Portman, Julia Roberts, Lorne Michaels, and Gloria Steinem. Mark Harris gives an intimate and evenhanded accounting of success and failure alike; the portrait is not always flattering, but its ultimate impact is to present the full story of one of the most richly interesting, complicated, and consequential figures the worlds of theater and motion pictures have ever seen. It is a triumph of the biographer's art.

This handbook tackles the understudied relationship between music and comedy cinema by analysing the nature, perception, and function of music from fresh perspectives. Its approach is not only multidisciplinary, but also interdisciplinary in its close examination of how music and other cinematic devices interact in the creation of comedy. The volume addresses gender representation, national identities, stylistic strategies, and employs inputs from cultural studies, musicology, music theory, psychology, cognitivism, semiotics, formal and stylistic film analysis, and psychoanalysis. It is organised in four sections: general introductions, theoretical investigations, music and comedy within national cinemas, and exemplary case studies of films or authors.

Popular culture is a central part of everyday life to many Americans. Personalities such as Elvis Presley, Oprah Winfrey, and Michael Jordan are more recognizable to many people than are most elected officials. With Amusement for All is the first comprehensive history of two centuries of mass entertainment in the United States, covering everything from the penny press to Playboy, the NBA to NASCAR, big band to hip hop, and other topics including film, comics, television, sports, dance, and music. Paying careful attention to matters of race, gender, class, technology, economics, and politics, LeRoy Ashby emphasizes the complex ways in which popular culture simultaneously reflects and transforms American culture, revealing that the world of entertainment constantly evolves as it tries to meet the demands of a diverse audience. Trends in popular entertainment often reveal the tensions between competing ideologies, appetites, and values in American society. For example, in the late nineteenth century, Americans embraced "self-made men" such as John D. Rockefeller and Andrew Carnegie: the celebrities of the day were circus tycoons P.T. Barnum and James A. Bailey, Wild West star "Buffalo Bill" Cody, professional baseball organizer Albert Spalding, and prizefighter John L. Sullivan. At the same time, however, several female performers challenged traditional notions of weak, frail Victorian women. Adah Isaacs Menken astonished crowds by wearing tights that made her appear nude while performing dangerous stunts on horseback, and the shows of the voluptuous burlesque group British Blondes often centered on provocative images of female sexual power and dominance. Ashby describes how history and politics frequently influence mainstream entertainment. When Native Americans, blacks, and other non-whites appeared in the nineteenth-century circuses and Wild West shows, it was often to perpetuate demeaning racial stereotypes—crowds jeered Sitting Bull at Cody's shows. By the early twentieth century, however, black minstrel acts reveled in racial tensions, reinforcing stereotypes while at the same time satirizing them and mocking racist attitudes before a predominantly white audience. Decades later, Red Foxx and Richard Pryor's profane comedy routines changed American entertainment. The raw ethnic material of Pryor's short-lived television show led to a series of African-American sitcoms in the 1980s that presented common American experiences—from family life to college life—with black casts. Mainstream entertainment has often co-opted and sanitized fringe amusements in an ongoing process of redefining the cultural center and its boundaries. Social control and respectability vied with the bold, erotic, sensational, and surprising, as entrepreneurs sought to manipulate the vagaries of the market, control shifting public appetites, and capitalize on campaigns to protect public morals. Rock 'n Roll was one such fringe culture; in the 1950s, Elvis blurred gender norms with his androgynous style and challenged conventions of public decency with his sexually-charged performances. By the end of the 1960s, Bob Dylan introduced the social consciousness of folk music into the rock scene, and The Beatles embraced hippie counter-culture. Don McLean's 1971 anthem "American Pie" served as an epitaph for rock's political core, which had been replaced by the spectacle of hard rock acts such as Kiss and Alice Cooper. While Rock 'n Roll did not lose its ability to shock, in less than three decades it became part of the established order that it had originally sought to challenge. With Amusement for All provides the context to what Americans have done for fun since 1830, showing the reciprocal nature of the relationships between social, political, economic, and cultural forces and the way in which the entertainment world has reflected, refracted, or reinforced the values those forces represent in America.

Feeling down in the dumps? Sometimes laughter is the best medicine. That's Really Funny offers a full dose for people from all walks of life with more than 1,000 belly-laughing jokes from today's hottest comedians. That's Funny was first published in 1996 and has sold more than 23,000 copies. It has also spawned four day-to-day calendars and a mini-book. That's Really Funny gathers together more favorite funny people and their wittiest lines in one great comedy club disguised as a book. It's a virtual who's who of comedy, featuring a complete cross section of the fresh and familiar faces that make you laugh. Whether you have a few minutes for one joke or 30 minutes for 10 or more, you'll discover some of the best jokes from the country's top performance headliners, movie and television favorites, and hot club comics. That's Really Funny pokes fun at just about every imaginable person, place, or thing with zero-precision accuracy. Fresh and funny, the book offers the hilarity of a comedy club right in the comfort of your home-without the hecklers or secondhand smoke.

“Seeing Mad” is an illustrated volume of scholarly essays about the popular and influential humor magazine Mad, with topics ranging across its 65-year history—up to last summer’s downsizing announcement that Mad will publish less new material and will be sold only in comic book shops. Mad magazine stands near the heart of post-WWII American humor, but at the periphery in scholarly recognition from American cultural historians, including humor specialists. This book fills that gap, with perceptive, informed, engaging, but also funny essays by a variety of scholars. The chapters, written by experts on humor, comics, and popular culture, cover the genesis of Mad; its editors and prominent contributors; its regular features and departments and standout examples of their contents; perspectives on its cultural and political significance; and its enduring legacy in American culture.

The book titled "Python Essentials' covers complete syllabus of Concept of Python Programming prescribed by Technical University of Uttar Pradesh and other Universities also. This book builds on the concepts of Python programming language introduced in Several Class. The book is replete with a rich pedagogy comprising true-or-false, multiple-choice apart from programming problems of varying difficulty levels to help students ace their exams with ease. Amply supported by illustrative diagrams, keywords and topic highlights, this book is an ideal text that helps students build a firm foundation in the subject The book titled "Python Essentials' covers complete syllabus of Concept of Python Programming prescribed by Technical University of Uttar Pradesh and other Universities also. This book builds on the concepts of Python programming language introduced in Class XI. The book is replete with a rich pedagogy comprising true-or-false, multiple-choice apart from programming problems of varying difficulty levels to help students ace their exams with ease. Amply supported by illustrative diagrams, keywords and topic highlights, this book is an ideal text that helps students build a firm foundation in the subject.