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One of the legends of show biz delves into his personal treasury of jokes ("The most comprehensive storehouse of 20th-century humor in the world"--Los Angeles Magazine) to present the most astounding array of one-liners, anecdotes, quips, and gags ever published. Line drawings.
Gathers jokes about accountants, actors, amnesia, banks, nightlife, politicians, procrastination, relatives, robots, tact, vacations, psychiatrists, and salesmen.
Why Did Steve Allen Cross the Road? Steve Allen is a legend among comedians and entertainers. He's been playing to audiences on stage, radio, film, and television for more than fifty years, gaining acclaim for his unique wit and energy. Now for the first time, he shares more than a thousand of his favorite one-liners, anecdotes, limericks, quotes, and other generally funny things. The entries are divided into nearly two hundred categories to make it easy for anyone to find the right laugh for any occasion. If you're faced with the prospect of having to "say a few words," Steve Allen's Private Joke File is the perfect place to look for ideas and inspiration on such topics as awards, drinking, baseball, lawyers, dentists, insurance, marriage, the stock market, and dozens of other subjects. A sampling: * My wife and I had words, but I never got to use mine! * If ignorance is bliss, he should die of joy. * "How are the acoustics here?" "Great, I can hardly hear you!" * I learned to rumba very early in life ... I had a tricycle with a loose seat. * Room for rent, by young lady, freshly plastered. Steve Allen has also included a number of his favorite essays and monologues. Steve Allen's Private Joke File is great to flip through for fun or for function, and for those of us looking for a good laugh -- to give one or to have one -- it's indispensable.
As wolves return to their old territory in Yellowstone National Park, their presence is reawakening passions as ancient as their tangled relations with human beings. This authoritative and eloquent book coaxes the wolf out from its camouflage of myth and reveals the depth of its kinship with humanity, which shares this animal's complex complex social organization, intense family ties, and predatory streak.
For the first time in paperback, this is Mr. Television's laugh-a-minute autobiography of his sixty years in the legendary Friar's Club--that ribald, rollicking collection of zanies. With 32 pages of rare pictures from Mr. Berle's private collection.
A collection of FDR's fireside chats presents them exactly as they were originally broadcast to explore a world of economic disaster, social reform, and international danger and to stress the importance of Roosevelt's leadership in American political history.
The reigning authority on intellectual property in the Internet age, Lawrence Lessig spotlights the newest and possibly the most harmful culture war - a war waged against those who create and consume art. America's copyright laws have ceased to perform their original, beneficial role: protecting artists' creations while allowing them to build on previous creative works. In fact, our system now criminalizes those very actions. Remix is an urgent, eloquent plea to end a war that harms every intrepid, creative user of new technologies. It also offers an inspiring vision of the postwar world where enormous opportunities await those who view art as a resource to be shared openly rather than a commodity to be hoarded.
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.