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A wonderful reader for anyone who loves the great programs of old-time radio, this definitive encyclopedia covers American radio shows from their beginnings in the 1920s to the early 1960s.
Stebbins begins with a history of stand-up comedy, giving vital background about the industry as it emerged and flourished in the United States and subsequently developed into a popular form of entertainment in Canada. He deals with the nature of comic performance in comedy rooms - cabarets designed specifically for stand-up comedy - and examines the career of the comic: how people become interested in comedy, how they progress as amateurs, how they survive on the road and how, sometimes, they become headliners and later writers for film and television. He also discusses the business of comedy: booking agents, comedy chains such as Yuk-Yuk's, room managers, and the comics themselves as entrepreneurs. As the first comprehensive study of a growing phenomenon, The Laugh-Makers will interest sociologists of humour and sociologists of occupations and will contribute to our understanding of Canadian popular culture.
Laura Lonshein Ludwig: poet, recipient of four New York State Council for the Arts Grants, listed in Whos Who in the World in 2004 for her work as a screenwriter, satirist, poet, actress, and director. Laura has performed on stages across the nation, on radio, TV, and in poetry venues. Regional editor for upstate New York for Medicinal Purposes Literary Review, previously the staff assistant for the New Press Literary Quarterly, and a producer with the Museum of Sound Recording, Lauras plays and poetry can be heard on shows created by Teachers and Writers Collaborative, WNYE, The Light Show (WBAI 99.5 FM), Earth Bird, Channel 57, MNN. Lauras poetry can be heard on the Joe Franklins Memory Lane radio program at WOR AM, hosted by Joe Franklin and cohosted by Richard Ornstein, who is the cowriter of the newest screenplay Laura wrote, The Desk. Sounds like a Plot, Ms. Ludwigs last book, was reviewed by the comic Professor Irwin Corey. In these masters of the art, one finds the writer. Laura received outstanding reviews from Al Lewis (radio actor on WBAIs The Al Lewis program with Karen Lewis; Frederick Geo Bold, The Light Show producer and host; Dr. Joseph S. Salemi, New York University professor, poet, translator, scholar, Department of Classics, Brooklyn College) for the first book Robo Sapiens. The reviews and other reviews are to be found in this book, Reflections for the Renaissance. Ms. Ludwigs work can be found in the Mid-Manhattan Library, NYU Bobst Library, the Brooklyn Library, and published in over sixty literary publications. The Xlibris website and all major websites, such as the Barnes and Noble (through Xlibris by e-mail and phone), the St. Marks Bookshop, and City Lights Booksellers in San Francisco, California. Available worldwide; Amazon.com and Barnes and Noble bookstores can order it for you with other books and chapbooks by Laura Lonshein Ludwig. Reflections for the Renaissance is a book of poetry on the masters in literature, theatre, and the screen, for art is life, and life can only be art by loving art itself. The delight and experience in reading the masters in literature and studying the great writers, comics, producers, and artists throughout the ages that have moved Ms. Ludwig to the pen and to the screen. Also included in this collection is The Man on the Street Is without a Prayer, the screenplay that Richard Ornstein compared to Duck Soup, the genius of the Marx Brothers, and Ms. Ludwigs work to Mel Brooks. Short comic plays are included as well. Ms. Ludwig studied acting at the Gene Frankel Theatre, attended Franconia College, and worked in sales and customer relations for twenty years. In a desire to produce television that educates and provides the community with the arts, Ms. Ludwig offered ballet, opera, theatre, poetry, plays, and films to present her screenplays and the work of other artists and activists for ten years in pursuit of program time offering a budget. Brooklyn cable-access TV offered the public and Ms. Ludwig an opportunity to enjoy television made through concern and a love of art. Creating the show with attention to the value of language and art, it was a top-rated program combining the rising artists of New Yorkthe new artists that have studied their craft with the stars. Ms. Ludwig presented some of the great stars in film, radio, and TV. The American dream is to enjoy good literature, and film, to reach for the fruits of your labor in the quest to be part of the renaissance in art. In that quest is the art of today and those that influence and encourage the creation of art. Reflections for the Renaissance honors the artists that I have worked with and who inspired many other artists in the New York poetry circuit, while creating a new body of art to be treasured and to help shape the new renaissance in art for the twenty-first century.
This book contains such anecdotes as these: 1) In his Answer Man column, film critic Roger Ebert answered a question by Matt Sandler about who was the world's most beautiful woman by saying that she was Indian actress Aishwarya Rai. In a later Answer Man column, a reader stated that Mr. Ebert should have answered the question by saying, "My wife." However, Mr. Ebert had a good reason for not answering the question that way: "Matt Sandler asked about women, not goddesses." 2) To advertise its Razzles candy, Mars Candy decided to use a Cleveland, Ohio, show in which comedian Ron Sweed, aka The Ghoul, hosted several mostly bad horror movies. The Ghoul criticized the candy for weeks, and the more he criticized it, the more its sales went up. In gratitude, Mars Candy delivered a case of Razzles to The Ghoul. The case of candy remained on the set of The Ghoul's show for year--unopened.
The Encyclopedia of Television, second edtion is the first major reference work to provide description, history, analysis, and information on more than 1100 subjects related to television in its international context. For a full list of entries, contributors, and more, visit the Encyclo pedia of Television, 2nd edition website.
In A Vulgar Art, Ian Brodie uses a folkloristic approach to stand-up comedy, engaging the discipline's central method of studying interpersonal, artistic communication and performance. Because stand-up comedy is a rather broad category, people who study it often begin by relating it to something they recognize—“literature” or “theatre”; “editorial” or “morality”—and analyze it accordingly. A Vulgar Art begins with a more fundamental observation: someone is standing in front of a group of people, talking to them directly, and trying to make them laugh. So, this book takes the moment of performance as its focus, that stand-up comedy is a collaborative act between the comedian and the audience. Although the form of talk on the stage resembles talk among friends and intimates in social settings, stand-up comedy remains a profession. As such, it requires performance outside of the comedian's own community to gain larger and larger audiences. How do comedians recreate that atmosphere of intimacy in a roomful of strangers? This book regards everything from microphones to clothing and LPs to Twitter as strategies for bridging the spatial, temporal, and sociocultural distances between the performer and the audience.
In the years following the Civil War, a veritable army of homeless men swept across America's "wageworkers' frontier" and forged a beguiling and bedeviling counterculture known as "hobohemia." Celebrating unfettered masculinity and jealously guarding the American road as the preserve of white manhood, hoboes took command of downtown districts and swaggered onto center stage of the new urban culture. Less obviously, perhaps, they also staked their own claims on the American polity, claims that would in fact transform the very entitlements of American citizenship. In this eye-opening work of American history, Todd DePastino tells the epic story of hobohemia's rise and fall, and crafts a stunning new interpretation of the "American century" in the process. Drawing on sources ranging from diaries, letters, and police reports to movies and memoirs, Citizen Hobo breathes life into the largely forgotten world of the road, but it also, crucially, shows how the hobo army so haunted the American body politic that it prompted the creation of an entirely new social order and political economy. DePastino shows how hoboes—with their reputation as dangers to civilization, sexual savages, and professional idlers—became a cultural and political force, influencing the creation of welfare state measures, the promotion of mass consumption, and the suburbanization of America. Citizen Hobo's sweeping retelling of American nationhood in light of enduring struggles over "home" does more than chart the change from "homelessness" to "houselessness." In its breadth and scope, the book offers nothing less than an essential new context for thinking about Americans' struggles against inequality and alienation.
International in scope, this book is designed to be the pre-eminent reference work on the English-speaking theatre in the twentieth century. Arranged alphabetically, it consists of some 2500 entries written by 280 contributors from 20 countries which include not only top-level experts, but, uniquely, leading professionals from the world of theatre. A fascinating resource for anyone interested in theatre, it includes: - Overviews of major concepts, topics and issues; - Surveys of theatre institutions, countries, and genres; - Biographical entries on key performers, playwrights, directors, designers, choreographers and composers; - Articles by leading professionals on crafts, skills and disciplines including acting, design, directing, lighting, sound and voice.