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Conservative critics argue that modern political satire, in the age of The Daily Show, has a liberal bias. A quick review of the humor landscape shows that there are very few conservative political satirists, and using personal interviews with political humorists this book explains why. The book explores the history of satire, the comedy profession, and the nature of satire itself to examine why there is an ideological imbalance in political humor and it explores the consequences of this disparity. This book will appeal to Daily Show and Colbert fans, political junkies, and anyone interested in the intersection of politics and media.
A tiny American town's plans for radical self-government overlooked one hairy detail: no one told the bears. Once upon a time, a group of libertarians got together and hatched the Free Town Project, a plan to take over an American town and completely eliminate its government. In 2004, they set their sights on Grafton, NH, a barely populated settlement with one paved road. When they descended on Grafton, public funding for pretty much everything shrank: the fire department, the library, the schoolhouse. State and federal laws became meek suggestions, scarcely heard in the town's thick wilderness. The anything-goes atmosphere soon caught the attention of Grafton's neighbors: the bears. Freedom-loving citizens ignored hunting laws and regulations on food disposal. They built a tent city in an effort to get off the grid. The bears smelled food and opportunity. A Libertarian Walks Into a Bear is the sometimes funny, sometimes terrifying tale of what happens when a government disappears into the woods. Complete with gunplay, adventure, and backstabbing politicians, this is the ultimate story of a quintessential American experiment -- to live free or die, perhaps from a bear.
Lisa Smith was a bright, young lawyer at a prestigious firm in NYC in the early nineties when alcoholism started to take over her life. What was once a way of escaping her insecurity and negativity became a means of coping with the anxiety and stress of an impossible workload. Girl Walks Out of a Bar is Smith's darkly comic and wrenchingly honest story of her formative years, the decade of alcohol and drug abuse, divorce, and her road to recovery. Smith describes how her spiraling circumstances conspired with her predisposition to depression and self-medication, nurturing an environment ripe for addiction to flourish. Girl Walks Out of a Bar is a candid portrait of alcoholism through the lens of gritty New York realism. Beneath the façade of success lies the reality of addiction.
This book attempts to grasp the recent paradigm shift in American politics through the lens of satire. It connects changes in the political and cultural landscape to corresponding shifts in the structure and organization of the media, in order to shed light on the evolution of political satire on late-night television. Satire is situated in its historical background to comprehend its movement away from the fringes of discourse to the very center of politics and the media. Beginning in the 1990s, certain trends such as technological advances, media consolidation, and the globalization of communications reinforced each other, paving the way for satire to claim a prized spot in the visual media—a tendency that only gained strength after September 11. While the Bush presidency presented itself as an apposite target for satirists, their stronghold on American television was made possible by a number of transitions in broader culture, which are encapsulated in the shrinking space available for political engagement under neoliberalism. This largely underestimated development can be understood through the framework of postmodernism, which focuses on the relationship between language, power, and the presentation of reality. These trends and transitions reached a climax in the 2016 election where President Trump was elected, embodying what can only be considered a significant turning point in American politics. The bigger narrative contains various subplots represented in the rise of the neoliberal economy, the acceptance of postmodernism as the dominant cultural code, and the role of the voyeur superseding that of the engaged citizen. It is only through understanding each of these pieces and connecting them that we can comprehend the current political transformation. The present moment may feel like a golden age of satire, and it may well be, but this book addresses the hardest questions about the realities behind such a claim: what can we conclude about when and how satire is effective, judging by the history of this genre in its various incarnations, and how can the “apolitical” postmodern media landscape be reconciled with what the best of this genre has had to offer during times of political duress?
Comedy is a powerful contemporary source of influence and information. In the still-evolving digital era, the opportunity to consume and share comedy has never been as available. And yet, despite its vast cultural imprint, comedy is a little-understood vehicle for serious public engagement in urgent social justice issues – even though humor offers frames of hope and optimism that can encourage participation in social problems. Moreover, in the midst of a merger of entertainment and news in the contemporary information ecology, and a decline in perceptions of trust in government and traditional media institutions, comedy may be a unique force for change in pressing social justice challenges. Comedians who say something serious about the world while they make us laugh are capable of mobilizing the masses, focusing a critical lens on injustices, and injecting hope and optimism into seemingly hopeless problems. By combining communication and social justice frameworks with contemporary comedy examples, authors Caty Borum Chattoo and Lauren Feldman show us how comedy can help to serve as a vehicle of change. Through rich case studies, audience research, and interviews with comedians and social justice leaders and strategists, A Comedian and an Activist Walk Into a Bar: The Serious Role of Comedy in Social Justice explains how comedy – both in the entertainment marketplace and as cultural strategy – can engage audiences with issues such as global poverty, climate change, immigration, and sexual assault, and how activists work with comedy to reach and empower publics in the networked, participatory digital media age.
The hottest and most controversial book of the year! Find out who really controls the media in America. “[Ann Coulter] is never in doubt. And that, along with her bright writing, sense of irony and outrage, and her relish at finally hitting back at political opponents (especially in the media) is what makes Slander such refreshing and provocative reading.” —Los Angeles Times “[Ann Coulter] is a fluent polemicist with a gift for Menckenesque invective . . . and she can harness such language to subtle, syllogistic argument.” —Washington Post Book World “The most popular nonfiction book in America.”—New York Times “The real value of Slander . . . is not in the jokes or devastating exposés of liberal politicians and their allies, but the serious and scholarly study of just how entrenched the media prejudice is against anyone whose politics are even faintly conservative.” —New York Sun “Written with a great deal of passion . . . the real source of its strength—and its usefulness—was its painstaking marshalling of evidence . . . More important than [High Crimes and Misdemeanors] because it addresses a much broader issue, and one of lasting significance.”—National Review
“[An] affecting and hilarious meditation on fame and prestige as seen through the lens of an airline loyalty program.” —The AV Club A hilarious and honest new book in which John Hodgman, New York Times bestselling author of Vacationland, leaves vacation behind and gets back to work as a still somewhat famous person . . . and then loses his job. An uproarious read. After spending most of his twenties pursuing a career as a literary agent, John Hodgman decided to try his own hand at writing. Following an appearance to promote one of his books on The Daily Show, he was invited to return as a contributor. This led to an unexpected and, frankly, implausible career in front of the camera that has lasted to this very day, or at least until 2016. In these pages, Hodgman explores the strangeness of his career, speaking plainly of fame, especially at the weird, marginal level he enjoyed it. Through these stories you will learn many things that only John Hodgman knows, such as how to prepare for a nude scene with an oboe, or what it feels like to go to a Hollywood party and realize that you are not nearly as famous as the Property Brothers, or, for that matter, those two famous corgis from Instagram. And there are stories about how, when your television gig is canceled, you can console yourself with the fact that all of that travel that made your young son so sad at least left you with a prize: platinum medallion status with your airline. Both unflinchingly funny and deeply heartfelt, Medallion Status is a thoughtful examination of status, fame, and identity--and about the way we all deal with those moments when we realize we aren't platinum status anymore and will have to get comfortable in that middle seat again.
Super Mad at Everything All the Time explores the polarization of American politics through the collapse of the space between politics and culture, as bolstered by omnipresent media. It seeks to explain this perfect storm of money, technology, and partisanship that has created two entirely separate news spheres: a small, enclosed circle for the right wing and a sprawling expanse for everyone else. This leads to two sets of facts, two narratives, and two loudly divergent political sides with extraordinary anger all around. Based on extensive interviews with leading media figures and politicos, this book traces the development of the media machine, giving suggestions on how to restore our national dialogue while defending our right to disagree agreeably.
Micah LeMon had one slight problem when he started bartending nearly twenty years ago: he had no idea what he was doing. Mixology, he came to understand, is based on principles that are indispensable but not widely known. In The Imbible, LeMon shares the knowledge he has gained over two decades, so that even beginning bartenders can execute classic cocktails--and riff on those classics to create originals of their own. A good cocktail is never a random concoction. LeMon introduces readers to the principal components of every drink--spirit, sweet, and sour or bitter--and explains the role each plays in bringing balance to a beverage. Choosing two archetypes--the shaken Daiquiri and the stirred Manhattan—he shows how bartenders craft delicious variations by beginning with a good foundation and creatively substituting like ingredients. Lavishly illustrated in color and laid out in an inviting and practical way, The Imbible also provides a thorough overview of the bartender’s essential tools and techniques and includes recipes for over forty drinks--from well executed classics to original creations exclusive to this book. Both a lesson for beginners and a master class for more experienced bartenders, LeMon’s book opens the door to endless variations without losing sight of the true goal--to make a delicious cocktail.
We all know the basics of punctuation. Or do we? A look at most neighborhood signage tells a different story. Through sloppy usage and low standards on the internet, in email, and now text messages, we have made proper punctuation an endangered species. In Eats, Shoots & Leaves, former editor Lynne Truss dares to say, in her delightfully urbane, witty, and very English way, that it is time to look at our commas and semicolons and see them as the wonderful and necessary things they are. This is a book for people who love punctuation and get upset when it is mishandled. From the invention of the question mark in the time of Charlemagne to George Orwell shunning the semicolon, this lively history makes a powerful case for the preservation of a system of printing conventions that is much too subtle to be mucked about with.