Notes on What's So Damn Funny
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Seinfeld, the Movie an Original Screenplay by Mark Gavagan Contact
Seinfeld, The Movie an original screenplay by Mark Gavagan based on the "Seinfeld" television series by Larry David and Jerry Seinfeld contact: Cole House Productions (201) 320-3208 BLACK SCREEN: TEXT: "One year later ..." TEXT FADES: DEPUTY (O.S.) Well folks. You've paid your debt to society. Good luck and say out of trouble. FADE IN: EXT. LOWELL MASSACHUSETTS JAIL -- MORNING ROLL CREDITS. JERRY, GEORGE and ELAINE look impatient as they stand empty- handed, waiting for something. The DEPUTY walks back towards the jail building behind them. CUT TO: INT. LOWELL MASSACHUSETTS JAIL KRAMER is surrounded by teary-eyed guards and inmates. They love him. He's carrying a metal cafeteria tray covered with signatures, as well as scores of cards, notes and letters. Several in the crowd hug KRAMER. CUT TO: EXT. LOWELL MASSACHUSETTS JAIL KRAMER stumbles as he walks up to GEORGE, ELAINE and JERRY. CUT TO: EXT. SOMEWHERE IN RURAL MASSACHUSETTS -- DAY We see an ugly old school bus at a dead stop with the flashers on. "LARRY'S NYC BUS SERVICE" is painted sloppily on the side. An extremely old man herds dozens of stubborn sheep across the road. He's moving at an impossibly slow pace. CUT TO: INT. OLD SCHOOL BUS JERRY, GEORGE and ELAINE are sitting in bus's original kid- sized bench seats. They look bored and uncomfortable. 2. Cheerful KRAMER is in the front row chatting with the DRIVER and pointing at the animals outside. CUT TO: INT. HALLWAY IN FRONT OF JERRY'S APARTMENT -- LATER KRAMER & JERRY walk wearily towards their doors. -
THE MISMEASURE of MAN Revised and Expanded
BY STEPHEN JAY GOULD IN NORTON PAPERBACK EVER SINCE DARWIN Reflections in Natural History THE PANDA'S THUMB More Reflections in Natural History THE MISMEASURE OF MAN Revised and Expanded HEN'S TEETH AND HORSE'S TOES Further Reflections in Natural History THE FLAMINGO'S SMILE Reflections in Natural History AN URCHIN IN THE STORM Essays about Books and Ideas ILLUMINATIONS A Bestiary (with R. W. Purcell) WONDERFUL LIFE The Burgess Shale and the Nature of History BULLY FOR BRONTOSAURUS Reflections in Natural History FINDERS, KEEPERS Treasures amd Oddities of Natural History Collectors from Peter the Great to Louis Agassiz (with R. W. Purcell) THE MISMEASURE OF MAN To the memory of Grammy and Papa Joe, who came, struggled, and prospered, Mr. Goddard notwithstanding. Contents Acknowledgments 15 Introduction to the Revised and Expanded Edition: Thoughts at Age Fifteen 19 The frame of The Mismeasure of Man, 19 Why revise The Mismeasure of Man after fifteen years?, 26 Reasons, history and revision of The Mismeasure of Man, 36 2. American Polygeny and Craniometry before Darwin: Blacks andlndians as Separate, Inferior Species Cfolj 62 A shared context of culture, 63 Preevolutionary styles of scientific racism: monogenism and polygenism, 71 Louis Agassiz—America's theorist of polygeny, 74 Samuel George Morton—empiricist of polygeny, 82 The case of Indian inferiority: Crania Americana The case of the Egyptian catacombs: Crania Aegyptiaca The case of the shifting black mean The final tabulation of 1849 IO CONTENTS Conclusions The American school and -
Public Morals Pilot 11-8.Fdx
PUBLIC MORALS Pilot Episode "A Fine Line" Written by Edward Burns November 8, 2013 INT. MULDOON’S CAR - DAY New York City 1967 TERRY MULDOON, 40’s, and CHARLIE BULLMAN, 30’s, ride in the front seat of a 1964 Plymouth on East 51st Street. These guys dress sharp, don’t look much like cops. MULDOON (V.O.) There are the laws and there are the rules. And while the laws of the land are always evolving and changing, the rules of the street remain the same. They pull up and park. EXT. 51ST STREET - DAY Period cars line the residential street. The two cops step from the car and cross the street. MULDOON (V.O.) And if you want to survive on the streets of New York, you better learn to play by those rules. Besides, they make a hell of a lot more sense anyhow. INT. PRE-WAR DOORMAN BUILDING - DAY Muldoon and Bullman enter the modest lobby and approach the DOORMAN, a heavy set guy, thinks he’s slick. DOORMAN Gentlemen. What can I do for you? Muldoon flashes his shield. MULDOON Anybody up in 4J right now? DOORMAN What? No. 4J? Why would anybody be there? Muldoon immediately grabs the doorman by the back of the neck and tosses him down the hallway out of sight from the street. Bullman turns and stands watch. 2. MULDOON You think we’re jerking around here, asshole? We’re not here to play some game! DOORMAN I’m not playing any game, I just mind my own business. I don’t want any trouble. -
Polish American and Additional Entry Offices
POLONIA CONGRATULATES POLISH PRESIDENTPOLISH IN NEW AMERICAN YORK — JOURNAL PAGE 3 • NOVEMBER 2015 www.polamjournal.com 1 PERIODICAL POSTAGE PAID AT BOSTON, NEW YORK NEW BOSTON, AT PAID PERIODICAL POSTAGE POLISH AMERICAN OFFICES AND ADDITIONAL ENTRY DEDICATED TO THE PROMOTION AND CONTINUANCE OF POLISH AMERICAN CULTURE JOURNAL REMEMBERING PULASKI AND “THE BIG BURN” ESTABLISHED 1911 NOVEMBER 2015 • VOL. 104, NO. 11 | $2.00 www.polamjournal.com PAGE 16 POLAND MAY SUE AUTHOR GROSS •PASB TILE CAMPAIGN UNVEILING•“JEDLINIOK” TOURS THE EASTERN UNITED STATES HEPI FĘKSGIWYŃG! • A LOOK AT POLAND’S LUTHERANS • FR. MAKA ENLISTS IN NAVY • NOVEMBER HOLIDAYS DO WIDZENIA OR WITAMY AMERIKA? • FATHER LEN’S POLISH CHRISTMAS LEGACY • WIGILIA FAVORITES MADE EASY Newsmark Makes First US Visit Fired Investigator Says US SUPPLY BASES IN POLAND. Warsaw and Washing- House Probe Is Partisan ton have reached agreement on the location of fi ve U.S. WASHINGTON — A The move military supply bases in Poland. The will be established former investigator for the d e - e m - in and around existing Polish military bases Łask, Draws- House Select Committee on phasized ko Pomorskie, Skwierzyna, Ciechanów and Choszczno. PHOTO: RADIO POLSKA Benghazi says he was unlaw- o t h e r Tanks, armored combat vehicles and other military equip- fully fi red in part because he agencies ment will form part of NATO’s quick-reaction spearhead. sought to conduct a compre- involved Siting the storage bases in Poland is expected to facilitate hensive probe into the deadly with the swift mobilization in the event of an attack. The project attacks on the U.S. -
Polish Jokes About Americans I C a E
I n v e s t i g a t i o n e s L i n g u i s t Polish Jokes about Americans i c a e , Dorota Brzozowska v o l . X I , Institute of Polish Language, University of Opole P o z ul. Oleska 48, 45-052 Opole, POLAND n a ń , [email protected] D e c e m b e r 2 0 Abstract 0 4 The objective of the present paper is to analyze the character of Polish jokes about Americans and to find out what these jokes say about Poles. The latter question results from the assumption that stereotypes reveal more about those who propagate them than about those who allegedly represent particular traits. The popularity of Americans is a certain novelty in contemporary Polish jokes and this fact could be interpreted as another element in the processes of so-called McDonaldization. The texts are presented by the chronology of events they refer to. Americans are perceived by Poles as the enemies of the Russians, and so as a positive protagonist, a symbol of the high standard of living and an embodiment of the dream of success and freedom. Wide open spaces and big American cities, cowboys, Indians, Hollywood and Coca Cola are other symbols frequently occurring in jokes. AIDS and drug addictions are also supposed to be the products of America altogether with American right to carry arms, litigiousness and death penalty. Another feature of the Americans readily exploited by scoffers is a relatively short history and the hypocrisy of American political correctness. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Eddie Murphy in the Cut: Race, Class, Culture, and 1980S Film Comedy
Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies 5-10-2019 Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy Gail A. McFarland Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation McFarland, Gail A., "Eddie Murphy In The Cut: Race, Class, Culture, And 1980s Film Comedy." Thesis, Georgia State University, 2019. https://scholarworks.gsu.edu/aas_theses/59 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. EDDIE MURPHY IN THE CUT: RACE, CLASS, CULTURE, AND 1980S FILM COMEDY by GAIL A. MCFARLAND Under the Direction of Lia T. Bascomb, PhD ABSTRACT Race, class, and politics in film comedy have been debated in the field of African American culture and aesthetics, with scholars and filmmakers arguing the merits of narrative space without adequately addressing the issue of subversive agency of aesthetic expression by black film comedians. With special attention to the 1980-1989 work of comedian Eddie Murphy, this study will look at the film and television work found in this moment as an incisive cut in traditional Hollywood industry and narrative practices in order to show black comedic agency through aesthetic and cinematic narrative subversion. Through close examination of the film, Beverly Hills Cop (Brest, 1984), this project works to shed new light on the cinematic and standup trickster influences of comedy, and the little recognized existence of the 1980s as a decade that defines a base period for chronicling and inspecting the black aesthetic narrative subversion of American film comedy. -
Folklore Archive
Folklore Archive Papers, 1939-1995 43 linear feet Accession #1731 DALNET # OCLC # Selected materials from the Wayne State University Folklore Archive were transferred to the Archives of Labor and Urban Affairs in July of 1999 by the Archive’s director, Professor Janet Langlois, and opened for research in March of 2000. The Folklore Archive, established in 1939 by WSU English professors Emlyn Gardner and Thelma James, contains the oldest and largest record of urban folk traditions in the United States. At its core are thousands of student field research projects covering a broad range of topics. These projects typically consist of transcripts of oral interviews conducted by the students as part of their research. The collection is strong in modern industrial and occupational folklore, reflecting the rich ethnic diversity and work-oriented heritage of Detroit and southeastern Michigan. The Archive also contains oral histories (tapes and transcripts) and scholarly papers documenting Greek-American family life and the migration of Southern Appalachian whites to the metropolitan Detroit area and oral interviews with Pete Seeger and Irwin Silber of People’s Songs, Inc., which collected, published and promoted folksongs, particularly labor and protest songs. Important subjects in the collection: Afro-Americans--Medicine Afro-Americans--Michigan--Detroit--Social life and customs Ethnic groups--Humor Ethnic groups--Michigan--Detroit Ethnic groups--Religious life Folk-songs--United States German Americans--Michigan--Detroit--Social life and customs -
The Foreign Service Journal, July-August 1998
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Seinfeld - "The Twin Towers" an Original Spec Script
SEINFELD - "THE TWIN TOWERS" AN ORIGINAL SPEC SCRIPT BY: BILLY DOMINEAU 08/02/2016 [email protected] Twitter: @billydomineau Instagram: @moms4sodainpublicschools COLD OPEN INT. COMEDY CLUB - NIGHT JERRY You think they ever get backed up at the gates of Heaven? Too many people die at once, it just overwhelms the system? It’s gotta be like the DMV on a Friday. “Everyone take a number, you’ll be judged in the order you slipped the surly bonds of Earth.” God’s angry at St. Peter. “What’s going on? Keep the line moving!” “I’ve got three angels on vacation - what do you want?!” All these poor souls just standing around, reading old magazines. “This is taking an eternity. I could’ve been in Hell by now!” END OF COLD OPEN 2. ACT I INT. YANKEES CONFERENCE ROOM - DAY GEORGE AND OTHER EMPLOYEES STAND AMONG NYPD AND FDNY. MR. WILHELM STANDS BEFORE THE ROOM NEXT TO A FIRE CAPTAIN. A BANNER READS “UNITED WE STAND - THANK YOU, HEROES!”. MR. WILHELM We have all been shaken by last Tuesday’s horrific events. But through the darkness of September 11th, the light of our brave firefighters and police officers shines through. GEORGE IS IN THE CROWD NEXT TO A LARGE FIREFIGHTER. HE LOOKS UP AT THE MAN WITH A BEAMING SMILE. MR. WILHELM (CONT’D) These selfless men and women are heroes to us all. GEORGE NODS HIS HEAD TO THE FIREFIGHTER AND PATS HIM ON THE BACK. THE FIREFIGHTER IS SLIGHTLY UNCOMFORTABLE. MR. WILHELM (CONT’D) And I could not be prouder to thank them on behalf of the entire Yankees family! APPLAUSE FROM THE AUDIENCE. -
The Post-Traumatic Theatre of Grotowski and Kantor Advance Reviews
The Post-traumatic Theatre of Grotowski and Kantor Advance Reviews “A brilliant cross-disciplinary comparative analysis that joins a new path in theatre studies, revitalizing the artistic heritage of two great twentieth-century masters: Tadeusz Kantor and Jerzy Grotowski.” —Professor Antonio Attisani, Department of Humanities, University of Turin “Among the landmarks of postwar avant-garde theatre, two Polish works stand out: Grotowski’s Akropolis and Kantor’s Dead Class. Magda Romanska scrupulously corrects misconceptions about these crucial works, bringing to light linguistic elements ignored by Anglophone critics and an intense engagement with the Holocaust very often overlooked by their Polish counterparts. This is vital and magnificently researched theatre scholarship, at once alert to history and to formal experiment. Romanska makes two pieces readers may think they know newly and urgently legible.” —Martin Harries, author of “Forgetting Lot’s Wife: On Destructive Spectatorship,” University of California, Irvine “As someone who teaches and researches in the areas of Polish film and theatre – and European theatre/theatre practice/translation more broadly – I was riveted by the book. I couldn’t put it down. There is no such extensive comparative study of the work of the two practitioners that offers a sustained and convincing argument for this. The book is ‘leading edge.’ Romanska has the linguistic and critical skills to develop the arguments in question and the political contexts are in general traced at an extremely sophisticated level. This is what lends the writing its dynamism.” —Dr Teresa Murjas, Director of Postgraduate Research, Department of Film, Theatre and Television, University of Reading “This is a lucidly and even beautifully written book that convincingly argues for a historically and culturally contextualized understanding of Grotowski’s and Kantor’s performances. -
Lahr Nichols 2/21.L
TNY—2/21 & 28/00—PAGE 196—LIVE OPI—AVEDON SPREAD-#1—140 SC.—#2 PAGE PROFILES MAKING IT REAL How Mike Nichols re-created comedy and himself. BY JOHN LAHR we do now, Mr. Success?” she said. Nichols, who has a sharp American wit but courtly European manners, bit his tongue. “All those ‘Mr. Success’ years would have been hard to explain to anybody if I tried,” Nichols, now sixty- eight, says. “What I really wanted to say to that envious woman was ‘Don’t worry.There’s still nothing happening in- side me. I’m not experiencing success or anything much.’ ” But feelings aren’t facts. From the moment Nichols made his name, in the late fifties, as the lanky deadpan half of the comedy team Nichols and May, he took up residence in success. As early as 1961, a letter addressed to “Famous Actor, Mike Nichols, U.S.A.” reached him. And, by the seventies, Nichols repre- sented the high-water mark in not just one but three areas of American enter- tainment. As a comedian, he improvised routines with Elaine May which are among the treasures of American humor; as a stage director, beginning in the early nce, in the early seventies, Mike sixties, he had a string of commercial hits ONichols was sitting in a commer- that made him the most successful Broad- cial jet as it took off from J.F.K. Mo- way director since George Abbott; as a ments after it was airborne, the plane film director, he made the bold, intelli- went into what Nichols recalls as “an gent “Who’s Afraid of Virginia Woolf?” unnervingly steep bank.