The Drink Tank Issue 241
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Sex Differences in Preferences for Humor Produced by Men Or Women: Is Humor in the Sex of the Perceiver? [Word Count = <25
1 Sex differences in preferences for humor produced by men or women: Is humor in the sex of the perceiver? [word count = <2500] Address correspondence to: 2 ABSTRACT It is a common argument that men are funnier than women. Recently, this belief has received modest empirical support among evolutionary psychologists who argue that humor results from sexual selection. Humor signals intelligence, and women thus use humor to discriminate between potential mates. From this, it follows that in addition to men being skilled producers of humor, women should be skilled perceivers of humor. Extant research has focused on humor production; here we focus on humor perception. In three studies, men and women identified the most humorous professional comedian (Studies 1 and 2) or individual they know personally (Study 3). We found large sex differences. In all three studies, men overwhelmingly preferred humor produced by other men, whereas women showed smaller (study 1) or no (studies 2 and 3) sex preference. We discuss biological and cultural roots of humor in light of these findings. 3 Sex differences in humor perception: Is humor in the sex of the perceiver? Although sex differences in the ability to produce humor have been debated at least since the 17th century (Congreve, 1695/1761; for more recent discussion, see the dialog between Hitchens and Stanley, Hitchens, 2007; Stanley, 2007), surprisingly few empirical studies exist on the topic. Yet understanding any sex difference in humor production or perception is important, since research suggests that humor mediates crucial social, psychological, and physiological processes. Socially, humor performs invaluable roles in persuasion (Mulkay, 1988) and managing personal relationships (Shiota, Campos, Keltner, & Hertenstein, 2004). -
Along These Lines,April 2016
2016 Washington Youth Tour delegates selected at annual banquet The 2016 Youth Tour Essay finalists were recognized at a recent banquet. Shown left to right are Jamie Martin, William Hartmann, Jessica Litloff, Adam Howe, Sarah Johnson, John Wiese, WAFB Meteorologist Jeff Morrow (keynote and DEMCO Youth Tour Alum of 2002), DEMCO Manager of Member and Public Relations David Latona, Sawyer Welborn, Grace Bordelon, Hannah Cowart, Ashley Gouedy, Kennedy Wilcher and Abigail Wootan. Along these Manager’s Report LINES By John vranic April 2016 DEMCO CEO and General Manager ALONG THESE LINES is an official publication of Dixie Electric Membership Corp. It is written for and distributed to members of the cooperative nine times each year. Dixie Electric Membership Corp. Leaders of tomorrow lauded is a non-profit rural electric cooperative providing service to 100,000 consumer-owners in seven Louisiana parishes. The Cooperative headquarters at Youth Tour banquet is located at 16262 Wax Road, Greenwell Springs, LA. All comments, suggestions and requests for ne of my favorite events to attend Louisiana’s delegation on Capitol Hill. information concerning this publication should be each spring is the annual DEMCO They have lots of time for socializing with addressed to ALONG THESE LINES, Dixie Electric Youth Tour Banquet. young people from other states and also Membership Corp., P.O. Box 15659, Baton Rouge, O LA 70895, (225) 261-1221. This is a special occasion organized receive leadership training and learn more by your local cooperative to recognize the about the country’s electric cooperative the program. DEMCO 12 finalists who have entered the Youth movement. -
Read an Excerpt
The Artist Alive: Explorations in Music, Art & Theology, by Christopher Pramuk (Winona, MN: Anselm Academic, 2019). Copyright © 2019 by Christopher Pramuk. All rights reserved. www.anselmacademic.org. Introduction Seeds of Awareness This book is inspired by an undergraduate course called “Music, Art, and Theology,” one of the most popular classes I teach and probably the course I’ve most enjoyed teaching. The reasons for this may be as straightforward as they are worthy of lament. In an era when study of the arts has become a practical afterthought, a “luxury” squeezed out of tight education budgets and shrinking liberal arts curricula, people intuitively yearn for spaces where they can explore together the landscape of the human heart opened up by music and, more generally, the arts. All kinds of people are attracted to the arts, but I have found that young adults especially, seeking something deeper and more worthy of their questions than what they find in highly quantitative and STEM-oriented curricula, are drawn into the horizon of the ineffable where the arts take us. Across some twenty-five years in the classroom, over and over again it has been my experience that young people of diverse religious, racial, and economic backgrounds, when given the opportunity, are eager to plumb the wellsprings of spirit where art commingles with the divine-human drama of faith. From my childhood to the present day, my own spirituality1 or way of being in the world has been profoundly shaped by music, not least its capacity to carry me beyond myself and into communion with the mysterious, transcendent dimension of reality. -
Integratedliving Receives International Award
The only way to fi nd out what’s going on! Serving the Hunter for over 20 years with a readership of over 4,000 weekly! Thursday 31st May, 2018 Missed an issue? www.huntervalleyprinting.com.au/Pages/Entertainer.php integratedliving receives See inside international award Driving the Hunter for 60 years! TV Guide A company that had its genesis in Muswellbrook has won the best home care operator in Asia Pacifi c region. integratedliving an organisation that was launched in Muswellbrook over a decade ago and since spread to most states of Australia. The Asia Pacifi c Eldercare Awards saw the organisation up against several international companies. CEO of integratedliving Catherine Daley says AWARD RECOGNITION: CEO of integratedliving Catherine Daley (centre) at the Asia the innovative programs introduced by the Pacifi c Eldercare presentation of awards. company was a big factor in winning the award. integratedliving Australia has a proud history of providing in home support services to older people in regional, rural and remote Australia. From those small beginnings as a local provider for aged care services in Muswellbrook and Murrurundi to being acknowledged as a lead provider in health management and home and community living services, integratedliving has grown to support more than 8000 people in local communities. New areas are being added regularly to the growing network. SESSION TIMES: THURSDAY 31 MAY - WEDNESDAY 6 JUNE Cinema is CLOSED Mondays outside of School & Public Holidays SOLO: A STAR WARS STORY BREATH (M) 135mins (M) 120mins -
Laugh and Learn
Illinois Wesleyan University Magazine, 2002-2017 Volume 21 Issue 4 Winter 2012-2013 Article 4 Winter 2013 Laugh and Learn Sarah Zeller Julian '07 Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/iwumag Recommended Citation Julian '07, Sarah Zeller (2013) "Laugh and Learn," Illinois Wesleyan University Magazine, 2002-2017: Vol. 21 : Iss. 4 , Article 4. Available at: https://digitalcommons.iwu.edu/iwumag/vol21/iss4/4 This is a PDF version of an article that originally appeared in the printed Illinois Wesleyan University Magazine, a quarterly periodical published by Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the University and/or the author of this document. Brooke Trantor ’11 pursues a lifelong dream as a student in the legendary Second City improv troupe’s Hollywood conservatory. By SARAH (ZELLER) JULIAN '07 Devoting your life to comedy takes a serious amount of work. That’s what Brooke Trantor ’11, found when she moved to Los Angeles and jumped headfirst into an acting career one year ago. This winter, the IWU acting major will graduate from Second City Hollywood’s Conservatory, where she has studied improvisational and sketch comedy in addition to working as a producer, intern, house manager and box office employee. Launched in Chicago’s Old Town neighborhood in 1959, the legendary Second City improv group has expanded to L.A. and Toronto. Its alumni constitute an A-list of comedians, including John Belushi, Mike Myers, Stephen Colbert, Julia Louis-Dreyfus and Tina Fey. It has also established training centers taught by improv pros, many who are current Second City performers. -
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. -
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. -
Marking Whiteness and Exploring Blackness in Standup Comedy
Colby College Digital Commons @ Colby Honors Theses Student Research 2019 Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy Andrew DeStaebler Follow this and additional works at: https://digitalcommons.colby.edu/honorstheses Part of the American Popular Culture Commons Colby College theses are protected by copyright. They may be viewed or downloaded from this site for the purposes of research and scholarship. Reproduction or distribution for commercial purposes is prohibited without written permission of the author. Recommended Citation DeStaebler, Andrew, "Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy" (2019). Honors Theses. Paper 970. https://digitalcommons.colby.edu/honorstheses/970 This Honors Thesis (Open Access) is brought to you for free and open access by the Student Research at Digital Commons @ Colby. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Colby. Something Punny to Precede the Colon: Marking Whiteness and Exploring Blackness in Standup Comedy Andrew DeStaebler American Studies Honors Thesis Advisor: Professor Laura Saltz Acknowledgements Thank you to my advisor, Professor Laura Saltz, for your constant guidance throughout this project. You have encouraged me to take intellectual risks and to welcome discomfort, which has undeniably made my writing bolder and stronger. A sincere thank you to Professor Ben Lisle for being a second reader for this project. Your critical and reinforcing feedback has helped me shape this project for the better. I would also like to extend a thank you to Provost Margaret McFadden who, when still Professor McFadden, inspired me to pursue the American Studies major my freshman year of college. -
Dissident Communication in Stand-Up Comedy
ARTICLE COMUN. MÍDIA CONSUMO, SÃO PAULO, V. 14, N. 40, P. 160-179, MAY/AUG. 2017 DOI 10.18568/cmc.v14i40.1348 Dissident communication in stand-up comedy: the case of Arab and Muslim countries A comunicação dissidente na comédia stand-up: o caso dos países árabes e muçulmanos Jacques A. Wainberg1 Abstract: This study is a content analysis of jokes produced and presented by stand-up comedians that in various parts of the world deal with a common theme, the inclusion of the Arab and the Muslim communities in modernity. This kind of humor became popular in many countries of the Middle East and Africa, similar to what is occurring in other continents. Countries like Saudi Arabia, Bahrain and Egypt nowadays tolerate, to some degree, the dissident humor proposed by such humorists. Seeing the Arab and Muslim societies laugh at themselves is a new and startling occurrence, since it breaks with the stereotypical image that they are unable to bear the satire and irony for being dominated by fear and conservatism. Keywords: Stand-up comedy; Humor; Joke; Dissidence Resumo: Este estudo analisa o conteúdo das piadas produzidas e apresenta- das por comediantes stand-up que, em várias partes do mundo, tratam de uma temática comum, a inserção do árabe e do muçulmano na modernidade. Este gênero de humor se difundiu em vários países do Oriente Médio e da África, à semelhança do que ocorre em outros continentes. Os governos de países como Arábia Saudita, Bahrein e Egito toleram hoje em dia, em algum grau, a dissi- dência proposta por tais humoristas. -
Politically Correct Language in George Carlin
Montclair State University Montclair State University Digital Commons Theses, Dissertations and Culminating Projects 5-2020 Politically Correct Language in George Carlin Alan Schultz Follow this and additional works at: https://digitalcommons.montclair.edu/etd Part of the English Language and Literature Commons Abstract American stand-up comedian George Carlin is notable for his long-standing popularity from the early 60s up until his death in 2008. In this paper, I examine George Carlin’s stance on politically correct language. Focusing on his three books Brain Droppings, Napalm and Silly Putty, and When Will Jesus Bring the Pork Chops?, I show how his attempts to remove himself from a politically correct system ultimately fail as he adheres to his own ideals of language and morality. Using his texts and various work from Stanley Fish to support these claims, I show how Carlin ridicules the redundancies and hypocrisies that exist when groups claim words as their own. While breaking down these claims on political correctness, Carlin implements his own set of values. I show how there is no direct way to escape politicizing language. However, Carlin’s position as stand-up comic allows for a more fluid approach to politically correct language, as it offers a way to shift leanings and explore various forms of ideology permitting audiences a way to think differently about the world around them. POLITICALLY CORRECT LANGUAGE IN GEORGE CARLIN A THESIS Submitted in partial fulfillment of the requirements For the degree of Master of Arts by Alan Schultz Montclair State University Montclair, NJ 2020 Table of Contents Thesis Page 1 Works Cited Page 27 Schultz 1 The 1960s and ’70s were times of massive cultural change for America. -
Bass Ackwards
Selling Your Film Without Selling Your Soul presented by Prescreen: Case Studies in Hybrid, DIY and P2P Independent Distribution By The Film Collaborative (Orly Ravid & Jeffrey Winter), Jon Reiss, Sheri Candler Published by The Film Collaborative, 3405 Cazador Street, Los Angeles, CA 90065, www.thefilmcollaborative.org All Rights Reserved. Production Manager: David Averbach Video Editor: Samuael Topiary Trailer Editor: Gene Merker Cover and Interior Design by: David Averbach Copyeditor: Susan Lynn Camera: Jon Reiss, Jon Kendall Winter Copyright © 2011 by The Film Collaborative, Jon Reiss and Sheri Candler ISBN 978-0-9838229-8-1 [PDF Edition] www.sellingyourfilm.com Table of Contents Acknowledgments Foreword Introduction Bass Ackwards A New Path to Engage Film Audiences and Create Careers: An Introduction Ride the Divide Note by Note The Best and the Brightest Adventures of Power American: The Bill Hicks Story How do Niche Films find their Audiences? Using Peer to Peer (P2P) Methods to Distribute Film? List of Questions Given to Participating Filmmakers About the Authors Acknowledgments The Film Collaborative (TFC) is grateful to Sheri and Jon for their delightful collaboration. Many thanks to all our sponsors for their support and to all our case study subjects for their diligent and transparent participation: Ari Gold, Anne Bernstein, Paul Thomas, Matt Harlock, Tom Gustafson, Casper Andreas, Javier Fuentes, Daniel Karslake, and Thomas Woodrow. Thanks to New Video for offering numbers for Bass Ackwards. Gravitas for their help with Casper Andreas’ films and American: The Bill Hicks Story. Wolfe for their help with Undertow and Were the World Mine. Ted Hope for everything. David Averbach for over-delivering as usual. -
On the Appearance of the Comedy LP, 1957–1973
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 On the Appearance of the Comedy LP, 1957–1973 David Michael McCarthy The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1515 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ON THE APPEARANCE OF THE COMEDY LP, 1957–1973 by DAVID MICHAEL McCARTHY A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 DAVID MICHAEL McCARTHY All rights reserved. iii On the Appearance of the Comedy LP, 1957–1973 by David Michael McCarthy This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ __________________________________________ Date Amy Herzog Chair of Examining Committee ___________________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: Jane Sugarman, Advisor Anne Stone, First Reader Sumanth Gopinath Amy Herzog THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT On the Appearance of the Comedy LP, 1957–1973 by David Michael McCarthy Advisor: Dr. Jane Sugarman Many observers of contemporary comedy in the United States during the 1960s referred to musical aspects of extra-musical performances. Comedy LP records furnish important artifacts for the study of the musical appearances these observers produced for themselves.