The comedians of the 1950s and 1960s were a totally different breed of relevant, revolutionary performer from any that came before or after, comics whose humor did much more than pry guffaws out of audiences. Gerald Nachman presents the stories of the groundbreaking comedy stars of those years, each one a cultural harbinger:
• Mort Sahl, of a new political cynicism
• Lenny Bruce, of the sexual, drug, and language revolution
• Dick Gregory, of racial unrest
• Bill Cosby and Godfrey Cambridge, of racial harmony
• Phyllis Diller, of housewifely complaint
• Mike Nichols & Elaine May and Woody Allen, of self-analytical angst and a rearrangement of male-female relations
• Stan Freberg and Bob Newhart, of encroaching, pervasive pop media manipulation and, in the case of Bob Elliott & Ray Goulding, of the banalities of broadcasting
• Mel Brooks, of the Yiddishization of American comedy
• Sid Caesar, of a new awareness of the satirical possibilities of television
• Joan Rivers, of the obsessive craving for celebrity gossip and of a latent bitchy sensibility
• Tom Lehrer, of the inane, hypocritical, mawkishly sentimental nature of hallowed American folkways and, in the case of the Smothers Brothers, of overly revered folk songs and folklore
• Steve Allen, of the late-night talk show as a force in American comedy
• David Frye and Vaughn Meader, of the merger of showbiz and politics and, along with Will Jordan, of stretching the boundaries of mimicry
• Shelley Berman, of a generation of obsessively self-confessional humor
• Jonathan Winters and Jean Shepherd, of the daring new free-form improvisational comedy and of a sardonically updated view of Midwestern archetypes
• Ernie Kovacs, of surreal visual effects and the unbounded vistas of video
Taken together, they made up the faculty of a new school of vigorous, socially aware satire, a vibrant group of voices that reigned from approximately 1953 to 1965.
Nachman shines a flashlight into the corners of these comedians' chaotic and often troubled lives, illuminating their genius as well as their demons, damaged souls, and desperate drive. His exhaustive research and intimate interviews reveal characters that are intriguing and all too human, full of rich stories, confessions, regrets, and traumas. Seriously Funny is at once a dazzling cultural history and a joyous celebration of an extraordinary era in American comedy.
This leads us to consider another popular television format , the talk show , which over the past twenty - five years has gone from " talking heads " to an audience - participation mode established by Phil Donahue and then developed in ...
切爾藍( )、周馬修( )、尼克.迪瓦德( )、萊恩.迪克( )、艾莉謝謝所有讓這本書成真的人。有些人讀了草稿,有些人分享工作中的高低起伏,也有些人在我陷入瓶頸的時候給了我一個微笑。謝謝瑪莉娜.阿嘉帕奇斯( )、卡曼.艾肯( )、維凡克.艾許克( )、麥特.
美国总统特朗普是个大势利眼,喜欢夸耀自己钱多和娶俗气的女人。 弗吉尼亚·伍尔夫在《我是势利眼吗》一文中承认了自己的势利倾向,她与牛津大学政治哲学家以赛亚·伯林晤面 ...
With Ginger Rogers , Adolphe Menjou , George Montgomery , Lynne Overman , Nigel Bruce , Phil Silvers , Sara Allgood , William Frawley , Spring Byington , Helene Reynolds , George Chandler , George Lessey , Iris Adrian , and Milton ...
The great breakthrough was the signing of Red Grange , the greatest halfback of the era , to a contract with the Chicago Bears . Grange quit the University of Illinois after their season ended and immediately played for the Bears in ...
Criticizes Pat Buchanan, Pat Robertson, Jessie Helms, and Ronald Reagan, political correctness, academic obsessions with theory, the art world, American infrastructure, and other targets
for Palmer , she learns from his sadistic " lessons in manliness " ( II , 143 ) to harden her will and suppress the feminine longing for protection . The narrative moves quickly to Susan's success in overcoming her exploiter .
Edward Hudlin maintains that the book follows very closely the structure of the heroic myth as outlined by Joseph Campbell ... Carol Pearson and Katherine Pope look at Dorothy's adventures from a mythological and feminist perspective.19 ...
Nevertheless , a handful of women did attain unusual heights , including Helen Woodward , a copywriter and executive who admitted , in 1926 , that " to be a really good copywriter requires a passion for converting the other fellow ...
Richard Vinen pursues the story into the 1970s to show both the ever more violent forms of radicalization that arose from 1968 and the brutal reactions from those in power that brought the era to an end.