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Why I Chase Comedians and Other Bipolar Tales is written with self-observational humour and a comical self-deprecating irony. Frankie Owens takes the reader inside the turbulent mind of someone afflicted by hypermania. He deals with the extremities of the bipolar condition — highs, lows, in-betweens — allowing readers to understand its overwhelming nature. Written in the style of his acclaimed Little Book of Prison, this new work follows a relapse when the author (founder of the Read and Grow Society and by now a respected, law-abiding exponent of Criminology and Literacy) found himself back in prison following a manic episode. The book shows how he struggled with booming ideas, breathtaking feats of imagination, coming down to Earth and dealing with the wreckage. It contrasts the out-and-out ability of this well-respected expert in criminology and literacy with bizarre behaviour as he serves time a second time around and rebuilds his life once more. A rare journey into the bipolar mind which ‘opens-up’ on mental health. A raw, challenging, humorous account. Reviews ‘This great, accessible book takes us on a journey revealing the reality of being bipolar, and its interfaces with incarceration’– Dr Paul Norman, University of Portsmouth. ‘Frankie Owens is an excellent person to give insight into the turmoil associated with mental illness. Never have I had a stranger call as his GP than when he was found raging in a boating pond on the South Coast of England without much clothing on (which he mentions in Chapter 2), so from there things could only get worse. As always Frankie turns these episodes to good use and is always looking at ways of helping other sufferers and families caught in the network of mental illness.’– Dr Colin Turner GP. ‘Frankie Owens never fails to deliver a no-punches-pulled account of mental health and his time spent at Her Majesty’s pleasure. Students soak up his stories, told with characteristic raw honesty and humour.’– Dr Tim Turner, Assistant Professor, School of Psychological, Social and Behavioural Sciences, Coventry University. ‘Our students were captivated by his experiences and his passion for Read and Grow, the community literacy programme that he started.’– Martina Feilzer, Professor Criminology and Criminal Justice, University of Bangor.
Details the life of Charley Chase—a major force in the shaping of motion picture comedy.
“With this charming, sardonic debut, stand up comedian and actor Todd Barry makes readers laugh as hard as the audiences at his shows” (Publishers Weekly) in this hilarious book of travel essays from his time on tour in the US, Canada, and Israel. Hello. It’s Todd Barry. Yes, the massively famous comedian. I have billions of fans all over the world, so I do my fair share of touring. While I love doing shows in the big cities (New York, Philadelphia), I also enjoy a good secondary market (Ithaca, Bethlehem). Performing in these smaller places can be great because not all entertainers stop there on tour; they don’t expect to see you. They’re appreciative. They say things like “Thank you for coming to Hattiesburg” as much as they say “Nice show.” And almost every town has their version of a hipster coffee shop, so I can get in my comfort zone. My original plan was to book one secondary market show in all fifty states, in about a year, but that idea was funnier than anything in my act. So, instead of all fifty states in a year, my agent booked multiple shows in a lot of states, plus Israel and Canada. Thank You for Coming to Hattiesburg is part tour diary, part travel guide, and part memoir (Yes, memoir. Just like the thing presidents and former child stars get to write). Follow me on my journey of small clubs, and the occasional big amphitheater. Watch me make a promoter clean the dressing room toilet in Connecticut, see me stare at beached turtles in Maui, and see how I react when Lars from Metallica shows up to see me at a rec center in Northern California. I’d love to tell you more, but I need to go book a flight to Evansville, Indiana.
Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today. Notions of Genre gathers the most important early writing on film genre and genre films published between 1945 and 1969. It includes articles by such notable critics as Susan Sontag, Dwight Macdonald, Siegfried Kracauer, James Agee, Andr� Bazin, Robert Warshow, and Claude Chabrol, as well as essays by scholars in academic disciplines such as history, sociology, and theater. Their writings address major issues in genre studies, including definition, representation, ideology, audiences, and industry practices, across genres ranging from comedy and westerns to horror, science fiction, fantasy, gangster films, and thrillers. The only single-volume source for this early writing on genre films, Notions of Genre will be an invaluable resource for scholars and students of film genre, film history, film theory, cultural studies, and popular culture.
This "hilarious and honest" bestselling memoir from a rising comedy star tackles issues of gender, sexuality, feminism, and the Catholic childhood that prepared her for a career as an outspoken lesbian comedian (Abby Wambach). Cameron Esposito wanted to be a priest and ended up a stand-up comic. Now she would like to tell the whole queer as hell story. Her story. Not the sidebar to a straight person's rebirth-she doesn't give a makeover or plan a wedding or get a couple back together. This isn't a queer tragedy. She doesn't die at the end of this book, having finally decided to kiss the girl. It's the sexy, honest, bumpy, and triumphant dyke's tale her younger, wasn't-allowed-to-watch-Ellen self needed to read. Because there was a long time when she thought she wouldn't make it. Not as a comic, but as a human. SAVE YOURSELF is full of funny and insightful recollections about everything from coming out (at a Catholic college where sexual orientation wasn't in the nondiscrimination policy) to how joining the circus can help you become a better comic (so much nudity) to accepting yourself for who you are-even if you're, say, a bowl cut-sporting, bespectacled, gender-nonconforming child with an eye patch (which Cameron was). Packed with heart, humor, and cringeworthy stories anyone who has gone through puberty, fallen in love, started a career, or had period sex in Rome can relate to, Cameron's memoir is for that timid, fenced-in kid in all of us-and the fearless stand-up yearning to break free. INDIE BESTSELLERWASHINGTON POST BESTSELLERSEATTLE TIMES BESTSELLER ONE OF BUSTLE'S MOST ANTICIPATED BOOKS OF MARCH
Chevy Chase is a much-loved Hollywood star. His success as a writer and actor on Saturday Night Live in the 70s made him a household name. It had been a long, hard route to the top for Chevy. Behind the fame lay a childhood riddled with abuse. But his remarkable strength and determination helped him rise above it and find his talent as an actor, writer, comedian, and musician. Best known for his role in the National Lampoon Vacation series Chevy has starred in some of the greatest comedies of our time. His latest film, Funny Money, received critical acclaim at the Sarasota Film Festival. Now, for the first time, Chevy speaks openly and candidly about his career, his personal struggle with drugs, his friendship with three American Presidents, and his family life. Honest, funny and informative, this is the complex and fascinating world of Chevy Chase.
The silent film era featured some of the most revered names of on-screen comic performance, from Charlie Chaplin and Buster Keaton to Harold Lloyd, Douglas Fairbanks, and Laurel & Hardy. Besides these giants of cinema, however, there are other silent era performers—both leading actors and supporting players—who left an enduring legacy of laughter. In The 100 Greatest Silent Film Comedians, James Roots ranks the greatest performers based on a scorecard that measures each comic’s humor, timelessness, originality, and teamwork. Far more than just a listing, this is an idiosyncratic and entertaining review of the men and women who created the golden age of comedy. As a critic and deaf viewer, Roots brings a truly unique perspective to the evaluation of these performers and their work. He has viewed thousands of silent comedies and offers some assessments that run contrary to the standard list of performers. While many obvious names are placed in the top echelon, the author also champions performers who have been neglected, in part because their work has not been as visible. Each entry includes a filmography a scorecard an evaluation of the artist’s overall work an assessment of representative films DVD availability With the increased availability of films on DVD, as well as Internet access, more and more silent performers are being discovered by film fans. Supplemented by an appendix of comedians who missed the cut, as well as an annotated bibliography, The 100 Greatest Silent Film Comedians will be an invaluable resource to anyone wanting to know more about the brilliant entertainers of the silent era.
A revenge wedding date that takes a wrong turn! Paige The problem with Spencer Wolf is that he thinks he’s the boss when I’m the boss. I run the inn. He’s my consultant chef and caterer, as well as an arrogant confirmed bachelor. But when I break down over an invitation to my ex-fiancé’s wedding, it’s Spencer who steps in to the rescue, offering to be my revenge wedding date. The perfect doting fake husband. The catch? He wants the honeymoon too. One night, no strings. No effing way! And then he kisses me, and in a moment of lusty weakness, I agree. Biggest mistake of my life. Pretty sure. Spencer Face it, Paige, you need me. This romantic comedy stands alone with a swoonworthy happy-ever-after! No cliffhangers. Unleashed Romance Series Fetching (Book 1) Dashing (Book 2) Sporting (Book 3) Toying (Book 4) Blazing (Book 5) Chasing (Book 6) Daring (Book 7) Leading (Book 8) Racing (Book 9) Loving (Book 10) Keywords: contemporary romance, romantic comedy, chick lit, funny romance, humorous romance, humorous fiction, women's fiction, romance for dog lovers, series romance, series, family sagas, romance series, romance, romantic, family life, dating, unleashed romance, unleashed romance series, humor, marriage, love, family life, friendship, Kylie Gilmore, USA Today bestselling author, sagas, romantic comedy series, steamy romance, alpha male, virgin romance, romance series, new romance, romance books, new release, small town romance, smart romance, hot romance, kylie gilmore romance, friends to lovers romance, romcom
In Sketch Comedy: Identity, Reflexivity, and American Television, Nick Marx examines some of the genre's most memorable—and controversial—moments from the early days of television to the contemporary line-up. Through explorations of sketches from well-known shows such as Saturday Night Live, The State, Inside Amy Schumer, Key & Peele, and more, Marx argues that the genre has served as a battleground for the struggle between comedians who are pushing the limits of what is possible on television and network executives who are more mindful of the financial bottom line. Whether creating new catchphrases or transgressing cultural taboos, sketch comedies give voice to marginalized performers and audiences, providing comedians and viewers opportunities to test their own ideas about their place in society, while simultaneously echoing mainstream cultural trends. The result, Marx suggests, is a hilarious and flexible form of identity play unlike anything else in American popular culture and media.
From its founding in 1912, the short-lived Keystone Film Company—home of the frantic, bumbling Kops and Mack Sennett's Bathing Beauties—made an indelible mark on American popular culture with its high-energy comic shorts. Even as Keystone brought "lowbrow" comic traditions to the screen, the studio played a key role in reformulating those traditions for a new, cross-class audience. In The Fun Factory, Rob King explores the dimensions of that process, arguing for a new understanding of working-class cultural practices within early cinematic mass culture. He shows how Keystone fashioned a style of film comedy from the roughhouse humor of cheap theater, pioneering modes of representation that satirized film industry attempts at uplift. Interdisciplinary in its approach, The Fun Factory offers a unique studio history that views the changing politics of early film culture through the sociology of laughter.