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The cultural upheaval of the 1960s and beyond was obvious and at times overpowering to the generation of youth fully enmeshed in its violence. Not only was the peaceful family image of Leave It to Beaver defunct, but the Beatles were raging on the airwaves, and nonconformity ruled supreme. Even so, there was peace and comfort in small-town life, sheltered from mainstream politics, war, and disruption. Stories from Potowasso rekindles memories of a gentler time. Although told within the same time frame, these stories focus on small-town life, lived through the eyes of its townspeople. There was the time Pastor Quark discovered that being one of the guys during hunting season wasnt as easy as he thought. Or the time when young Butch, Runt, and Burhead struggled through unease at the approach of their first junior-high dances. Life in Potowasso was simpler, slower, and filled with the wisdom of common sense. Although shielded from outside turbulence, the Potowasso church congregation was not necessarily shielded from personal turbulence. But their faith in God, strength of character, and unshakable friendships kept them strong. Times change, of course, but the basic lessons of life seem to always be there if youre willing to look and, most importantly, willing to laugh.
MOCK STARS TWO-DRINK MINIMUMS AND POTATO SKINS; bad Clinton jokes on late night-these used to be the hallmarks of comedy, an art relegated to the controlled environs of comedy clubs and network TV. In the late nineties, a daring breed of comedians...
Published in 1980, Blacks in Blackface was the first and most extensive book up to that time to deal exclusively with every aspect of all-African American musical comedies performed on the stage between 1900 and 1940. An invaluable resource for scholars and historians focused on African American culture, this new edition features significantly revised, expanded, and new material. In Blacks in Blackface: A Sourcebook on Early Black Musical Shows, Henry T. Sampson provides an unprecedented wealth of information on legitimate musical comedies, including show synopses, casts, songs, and production credits. Sampson also recounts the struggles of African American performers and producers to overcome the racial prejudice of white show owners, music publishers, theatre managers, and booking agents to achieve adequate financial compensation for their talents and managerial expertise. Black producers and artists competed with white managers who were producing all-Black shows and also with some white entertainers who were performing Black-developed music and dances, often in blackface. The chapters in this volume include: An overview of African American musical shows from the end of the Civil War through the golden years of the 1920s and ’30s New and expanded biographical sketches of performers Detailed information about the first producers and owners of Black minstrel and musical comedy shows Origins and backgrounds of several famous Black theatres Profiles of African American entrepreneurs and businessmen who provided financial resources to build and own many of the Black theatres where these shows were performed A chronicle of booking agencies and organized Black theatrical circuits, music publishing houses, and phonograph recording businesses Critical commentary from African American newspapers and show business publications More than 500 hundred rare photographs A comprehensive volume that covers all aspects of Black musical shows performed in theatres, nightclubs, circuses, and medicine shows, this edition of Blacks in Blackface can be used as a reference for serious scholars and researchers of Black show business in the United States before 1940. More than double the size of the previous edition, this useful resource will also appeal to the casual reader who is interested in learning more about early Black entertainment.
Stand-up comedy helped me find myself in business. It enabled me to break free of living outside of my heart and soul. It also helped me find my voice, be present, and stop doing things for reasons other than experiencing joy and fulfillment. The purpose of this book, therefore, is to provide those same lessons to you so you can say what you want, feel what you want, and do what you want to be the person you want to be. And yes, without getting fired. You know when people use sports analogies to describe a business situation—“par for the course,” “here’s the game plan,” or “dude, you just bit my ear off”? Clearly, you don’t need to be good at golf, football, or cannibalism to understand and use them. Likewise, you don’t need to be any kind of comedian, stand-up or otherwise, to get value from this book. These lessons are intended for business people who have never endeavored, and might never try, stand-up comedy. busi·ness A person’s regular occupation, profession, or trade, which, if left unchecked without fun, can lead to your soul being sucked dry and consequently morphing you into the equivalent of a stale Ritz cracker but, you know, without all the “cheddah.” com·e·dy The study of professional entertainment or amusement, consisting of jokes and satirical sketches, intended to make an audience laugh, and historically occupied by food service workers and the unemployed. Com·e·di·ol·o·gy Applying successful comedic techniques, traditionally used to amuse, entertain, or make an audience laugh, to your regular occupation, profession, or trade to enhance your daily effectiveness, fulfillment, and joy.
Long before the popular Marvel Cinematic Universe films, The Avengers was one of the most creative comic books in history, bringing a team composed of fantastic characters and stories, month after month. Although the heroes making up the team changed fairly often, many of Marvel's otherwise unaffiliated big hitters - Thor, Captain America, and Iron Man, for example - were usually around to keep things interesting. This ebook presents covers for the first 100 issues as well as the first five Annuals, plus plenty of story information, trivia, and more. This is the fourth volume in the Complete Comic Book Cover library. Collect 'em all!
From a prize-winning poet, a new collection that chronicles a weekend in the life of a group of friends coming of age in East Harlem at the dawn of the hip-hop era Willie Perdomo, a native of East Harlem, has won praise as a hip, playful, historically engaged poet whose restlessly lyrical language mixes "city life with a sense of the transcendent" (NPR.org). In his fourth collection, The Crazy Bunch, Perdomo returns to his beloved neighborhood to create a vivid, kaleidoscopic portrait of a "crew" coming of age in East Harlem at the beginning of the 1990s. In poems written in couplets, vignettes, sketches, riffs, and dialogue, Perdomo recreates a weekend where surviving members of the crew recall a series of tragic events: "That was the summer we all tried to fly. All but one of us succeeded."
This unique collection contains extensive and in-depth interviews with mathematicians who have shaped the field of mathematics in the twentieth century. Collected by two mathematicians respected in the community for their skill in communicating mathematical topics to a broader audience, the book is also rich with photographs and includes an introdu