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A NEW YORK TIMES BESTSELLER NAMED A BEST BOOK OF THE YEAR BY NPR Amy Poehler, Mel Brooks, Adam McKay, George Saunders, Bill Hader, Patton Oswalt, and many more take us deep inside the mysterious world of comedy in this fascinating, laugh-out-loud-funny book. Packed with behind-the-scenes stories—from a day in the writers’ room at The Onion to why a sketch does or doesn’t make it onto Saturday Night Live to how the BBC nearly erased the entire first season of Monty Python’s Flying Circus—Poking a Dead Frog is a must-read for comedy buffs, writers and pop culture junkies alike.
A noir classic about the era of the sideshow when freaks were the star attraction — respected and revered by other carnival members. Their stories are frankly and tenderly told by an author who lived and worked as a carny.
The move from playwright to cinema screenwriter and director is a rare accomplishment. No American writer has achieved this transition with the level of success enjoyed over the past two decades by David Mamet. Over this same period Mamet has also authored a body of aggressive critical writing that demonstrates enduring aesthetic and ideological preoccupations, regularly expressed as a set of confident «best practices». However, the relationship between theory and practice becomes particularly (and productively) rowdy at the sites of Mamet's transitional «media crossing». Imagination in Transition establishes a flexible set of core characteristics of Mamet's dramatic and theatrical dramaturgy, and then compares these with the textual and cinematographic strategies employed by Mamet in his initial, «transitional» feature films. This study, then, offers both an innovative approach to Mamet's work and an illuminating framework for cross-media analysis.
Ever wonder how most black really look at women in dating? This story is how one young black man's conflict while in the military in the early 80's. Scott Stimms never really had girlfriends growing up on the west side of Chicago, not until he joined the army. But the differences was that Caucasian women was paying attention and not "sistas". That made him even more-so ignore black women, until one sista recited a black poem and changed his enthusiasm. After he got out the army and formed his own black magazine, his energy to express his new-foundation for black love came more when joining a poetry group at a local jazz spot. But he still had problems connecting. He still wondered if it's more important to love your "own" or do it matter what race and complexion she is?
You may think it funny he didn't know me, but don't forget that I had been running for three years—that takes the fresh off a fellow; then, when I had the typhoid, my hair laid off, and was never reinstated, and when I got well, the whiskers—that had always refused to grow—came on with a rush, and they were red. And again, I had tried to switch with an old hook-motion in the night and forgot to take out the starting-bar, and she threw it at me, knocking out some teeth; and taking it altogether, I was a changed man.
The men in plays such as Arthur Miller's Death of a Salesman or Sam Shephard's True West are often presented as universal; little attention is given to the gender dynamics involved in the characters. This work looks at how contemporary playwrights, including Miller, Shepard, Eugene O'Neill, David Mamet, and August Wilson, stage masculinity in their works. It becomes apparent that male playwrights return often to the issues of troubled manhood, usually masked in other issues such as war, business or family. The plays indicate both the attractiveness of the model of traditional masculinity and the illusive nature of this image, which all too often fractures and fails the characters who pursue it. O'Neill's play The Hairy Ape and the character Yank receive much attention.
Clinical psychologist and author of The Defining Decade, Meg Jay takes us into the world of the supernormal: those who soar to unexpected heights after childhood adversity. Whether it is the loss of a parent to death or divorce; bullying; alcoholism or drug abuse in the home; mental illness in a parent or a sibling; neglect; emotional, physical or sexual abuse; having a parent in jail; or growing up alongside domestic violence, nearly 75% of us experience adversity by the age of 20. But these experiences are often kept secret, as are our courageous battles to overcome them. Drawing on nearly two decades of work with clients and students, Jay tells the tale of ordinary people made extraordinary by these all-too-common experiences, everyday superheroes who have made a life out of dodging bullets and leaping over obstacles, even as they hide in plain sight as doctors, artists, entrepreneurs, lawyers, parents, activists, teachers, students and readers. She gives a voice to the supernormals among us as they reveal not only "How do they do it?" but also "How does it feel?" These powerful stories, and those of public figures from Andre Agassi to Jay Z, will show supernormals they are not alone but are, in fact, in good company. Marvelously researched and compassionately written, this exceptional book narrates the continuing saga that is resilience as it challenges us to consider whether -- and how -- the good wins out in the end.