October 2017 Shofar
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Stand-Up Comedy in Theory, Or, Abjection in America John Limon 6030 Limon / STAND up COMEDY / Sheet 1 of 160
Stand-up Comedy in Theory, or, Abjection in America John Limon Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 1 of 160 Stand-up Comedy in Theory, or, Abjection in America 6030 Limon / STAND UP COMEDY / sheet 2 of 160 New Americanists A series edited by Donald E. Pease Tseng 2000.4.3 18:27 Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 3 of 160 John Limon Duke University Press Stand-up Comedy in Theory, or, Abjection in America Durham and London 2000 6030 Limon / STAND UP COMEDY / sheet 4 of 160 The chapter ‘‘Analytic of the Ridiculous’’ is based on an essay that first appeared in Raritan: A Quarterly Review 14, no. 3 (winter 1997). The chapter ‘‘Journey to the End of the Night’’ is based on an essay that first appeared in Jx: A Journal in Culture and Criticism 1, no. 1 (autumn 1996). The chapter ‘‘Nectarines’’ is based on an essay that first appeared in the Yale Journal of Criticism 10, no. 1 (spring 1997). © 2000 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Typeset in Melior by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book. Tseng 2000.4.3 18:27 6030 Limon / STAND UP COMEDY / sheet 5 of 160 Contents Introduction. Approximations, Apologies, Acknowledgments 1 1. Inrage: A Lenny Bruce Joke and the Topography of Stand-Up 11 2. Nectarines: Carl Reiner and Mel Brooks 28 3. -
You're Invited!
You’re Invited! 1st Anniversary Celebration Saturday, August 4, 2018 Drop by during the day for cake and enjoy these wonderful performances: 11am - “Festival” : Directed by Murray Lerner Special Screening in advance of the official U.S. Premiere in Los Angeles Festival depicts the American folk revival of the 1960s through observing the annual Newport Folk Festival between 1963 and 1966. The film is an amazing historical document of a rich cultural moment, setting the stage for the more revolutionary developments of the later 60s and 70s. The big names are all there, including Pete Seeger, Peter, Paul and Mary, Donovan, Joan Baez and Bob Dylan. But unlike the more canonized and better-known 60s festival documentaries like Monterey Pop, Woodstock and Gimme Shelter, Festival presents a relatively diverse and inclusive notion of what would come to be called the “counterculture.” 1:00-2:30pm - Come make a “Who Are You” Collage! (All Ages) Laura Numsen is a Maryland Institute, College of Art graduate who’s taught art, writing, and culture in schools, colleges, and eldercare settings. She also leads SoulCollage® and Vision Board retreats, helping people of all ages tap into their inner wisdom. 4:00pm - Lisa Viggiano “Magic in the Night: A Tribute to the Artistry of Bruce Springsteen” BroadwayWorld 2016 Winner for BEST CABARET FEMALE VOCALIST. Coast to Coast, VIGGIANO has performed as a singer/actor since childhood, sharing the stage and screen with talents such as Sarah Jessica Parker, Tom Hanks, Rita Moreno and Bonnie Raitt. A native “Jersey Girl”, LISA has been seen singing the National Anthem for the NJ Devils, NY Rangers and the NY Mets. -
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. -
Facts & Figures
FACTS & FIGURES (Including 2008 Nomination Information) 2008 PRIMETIME EMMY AWARDS SUMMARY OF MULTIPLE EMMY WINS IN 2007 Tony Bennett: An American Classic – 7 Bury My Heart at Wounded Knee – 6 Broken Trail – 4 Planet Earth – 4 The Amazing Race – 3 Jane Eyre (Masterpiece Theatre) – 3 Prime Suspect: The Final Act (Masterpiece Theatre) – 3 Rome – 3 The Sopranos – 3 Ugly Betty – 3 When The Levees Broke: A Requiem in Four Parts – 3 79th Annual Academy Awards – 2 American Masters – 2 Camp Lazlo – 2 Dexter – 2 Entourage 2 Nightmares & Dreamscapes: From the Stories of Stephen King – 2 The Office – 2 Saturday Night Live – 2 So You Think You Can Dance – 2 30 Rock – 2 The Tudors – 2 Two and a Half Men – 2 PARTIAL LIST OF 2007 WINNERS PROGRAMS: Comedy Series: 30 Rock Drama Series: The Sopranos Miniseries: Broken Trail Made For Television Movie: Bury My Heart At Wounded Knee Reality/Competition Program: The Amazing Race Variety, Music or Comedy Series: The Daily Show With Jon Stewart PERFORMERS: Comedy Series: Lead Actress: America Ferrera (Ugly Betty) Lead Actor: Ricky Gervais (Extras) Supporting Actress: Jaime Pressly (My Name Is Earl) Supporting Actor: Jeremy Piven (Entourage) Drama Series: Lead Actress: Sally Field (Brothers & Sisters) Lead Actor: James Spader (Boston Legal) Supporting Actress: Katherine Heigl (Grey’s Anatomy) Supporting Actor: Terry O’Quinn (Lost) Miniseries/Movie: Lead Actress: Helen Mirren (Prime Suspect: The Final Act (Masterpiece Theatre) Lead Actor: Robert Duvall (Broken Trail) Supporting Actress: Judy Davis (The Starter -
Of Coase and Comics, Or, the Comedy of Copyright
University of Pittsburgh School of Law Scholarship@PITT LAW Articles Faculty Publications 2009 Of Coase and Comics, or, The Comedy of Copyright Michael J. Madison University of Pittsburgh School of Law, [email protected] Follow this and additional works at: https://scholarship.law.pitt.edu/fac_articles Part of the Intellectual Property Law Commons, Internet Law Commons, Law and Economics Commons, Law and Society Commons, Political Economy Commons, Property Law and Real Estate Commons, Rule of Law Commons, Science and Technology Studies Commons, Social and Cultural Anthropology Commons, and the Theory, Knowledge and Science Commons Recommended Citation Michael J. Madison, Of Coase and Comics, or, The Comedy of Copyright, 95 Virginia Law Review In Brief 27 (2009). Available at: https://scholarship.law.pitt.edu/fac_articles/357 This Article is brought to you for free and open access by the Faculty Publications at Scholarship@PITT LAW. It has been accepted for inclusion in Articles by an authorized administrator of Scholarship@PITT LAW. For more information, please contact [email protected], [email protected]. VIRGINIA LAW REVIEW IN BRIEF VOLUME 95 APRIL 30, 2009 PAGES 27- 42 RESPONSE OF COASE AND COMICS, OR, THE COMEDY OF COPYRIGHT Michael J. Madison∗ INTRODUCTION RDER Without Law, Robert Ellickson’s seminal account of social O norms among Shasta County cattle ranchers,1 grew out of earlier research titled, in part, Of Coase and Cattle.2 The shift in the title was subtle, but significant. Ellickson started out to test Ronald Coase’s celebrated parable of the Rancher and the Farmer, the hypothetical that Coase used to develop the Coase Theorem,3 a major pillar of law and economics scholarship. -
Senator Winter 2018 Pictures
SENATOR THEATRE 5904 YORK ROAD ONE SHOW ONLY! WEDNESDAY, JANUARY 24 SUNDAY, JANUARY 28 10 AM 7:30 MONDAY, JANUARY 29 1 PM WEDNESDAY, JANUARY 17 7:30 TUESDAY, JANUARY 30 9:30 PM SUNDAY, JANUARY 21 10 AM MONDAY, JANUARY 22 1 PM TUESDAY, JANUARY 23 9:30 PM WEDNESDAY, JANUARY 31 7:30 PM SUNDAY, FEBRUARY 4 10 AM MONDAY, FEBRUARY 5 1 PM WEDNESDAY, FEBRUARY 14 8 PM TUESDAY, FEBRUARY 6 1 PM WEDNESDAY, FEBRUARY 7 7:30 SUNDAY, FEBRUARY 18 10 AM SUNDAY, FEBRUARY 11 10 AM MONDAY, FEBRUARY 12 1 PM TUESDAY, FEBRUARY 13 9:30 PM REVIVAL CALENDAR ADMISSION EVENING $10 STUDENT / SR $9 MATINEE $7 thesenatortheatre.com WARNER BROTHERS CARTOON SHOW ONE SHOW ONLY SUNDAY, FEBRUARY 25 10 AM REVIVAL CALENDAR ADMISSION EVENING $10 SENATOR THEATRE STUDENT / SR $9 5904 YORK ROAD MATINEE $7 ONCE UPON A TIME IN AMERICA “Just about all the incidents in this…film echo scenes in Hollywood gangster movies, but the director, Sergio Leone, inflates them, slows them down, and gives them a dreamy obsessiveness. He transmutes the lower East Side settings of those gangster movies to give the genre a richer, more luxuriant visual texture. His widescreen view of a group of Jewish kids who start with petty crime and move into big- time racketeering is set in 1921, 1933, and 1968, but not in that order….It isn't just the echoing moments that keep you absorbed--it's the reverberant dreamland settings and Leone's majestic, billowing sense of film movement.” (Pauline Kael) 4K Restoration 251 min. -
Producer, Director, Cinematographer and Editor)
Deconstructing Dad—The Music, Machines and Mystery of Raymond Scott Biography--Filmmaker-Stan Warnow (Producer, Director, Cinematographer and Editor) Stan Warnow received his B.A. from the University of Rochester and after graduating from the NYU School of the Arts cinema program with a Master of Fine Arts began working in New York City both as a cinematographer and editor on documentaries and dramatic films, and has worked in both genres for his whole career. His first feature editing credit was on The Honeymoon Killers, a low budget film noir that went on to be named to the New York Times 10 best list of 1969, as well as becoming a huge European hit--Francois Truffaut at one point referred to it as "his favorite American film." His next major project, as a cameraman and editor was the 1970 Academy Award winning and editing nominated feature documentary Woodstock. He was an editor on many music based projects throughout the 70's including the feature film Hair and the concert documentary No Nukes. He was also an editor on Ragtime. In 1982 he co-directed, co-produced, and supervised the editing of the award winning documentary feature In Our Hands, the film chronicle of the massive June 12, 1982 New York rally against nuclear weapons and energy. The film was a massive all volunteer effort, and included the participation of Pete Seeger, James Taylor, Peter Paul and Mary, and Meryl Streep, and behind the camera luminaries such as Barbara Kopple, Robert Leacock and Buddy Squires. In 1984 he edited the Warner Brothers production of Sesame Street's Follow That Bird. -
In Search of Lost Chords: Joni Mitchell, the Last Waltz, and the Refuge of the Road
103 5 In Search of Lost Chords: Joni Mitchell, Th e Last Waltz , and the Refuge of the Road Gustavus Stadler Murray Lerner’s fi lm Message to Love: Th e Isle of Wight Festival 1970 documents Joni Mitchell’s confrontation with an unruly crowd at an increasingly chaotic three-day concert, where an audience of 200,000 watched performances by acts like Jimi Hendrix, Th e Who, and Th e Doors. Her few minutes on screen will never fi t as neatly with glib proclamations of the “end of the 60s” as the events at the free concert at Tracy, California’s Altamont Speedway, organized by the Rolling Stones and documented in the far more canonical fi lm Gimme Shelter . But Message to Love’s depiction of Mitchell’s confrontation with the festival audience carries some of the same force. In both fi lms, dreams seeded at the Woodstock Music & Art Fair of 1969 turn into nightmares. Like Gimme Shelter , Lerner’s fi lm charts the breakdown of business-as-usual at a huge, outdoor, multi-artist concert. But in Message to Love , Woodstock’s shadow looms more literally; just aft er Mitchell fi nishes playing her eponymous anthem of tribute to the already legendary aff air, her microphone is commandeered by an apparently acid-baked hippie named Yogi Joe, who rather incoherently attempts to speak up for a group of people protesting outside the festival, demanding that it be made free. 1 Mitchell’s manager fi nally pulls Joe off stage, prompting a chorus of boos and jeers from the audience. -
From Birth to Death of Cool
Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-2009 From Birth to Death of Cool Brandon Theriault Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Theriault, Brandon, "From Birth to Death of Cool" (2009). Honors Theses. 1657. https://scholarworks.wmich.edu/honors_theses/1657 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FROM BIRTH TO DEATH OF COOL by Brandon Theriault An Honors Thesis Submitted to the Lee Honors College of Western Michigan University April, 2009 INTRODUCTION "Miles Davis was a bad dude. He was one of the baddest men in jazz... baddest jazzman ever." -Alvin Jones. Who is Alvin Jones? Alvin Jones is the man I just met outside of the Bernhard Center on Western Michigan University's campus in Kalamzoo, MI. I have been laboring over my honors thesis for months now; I am approaching its completion and was at a loss for a way to start the piece. As Alvin Jones stumbled up to me panhandling for a cigarette I could not help but notice his physical similarity to Miles. He looked to be approaching 65, white whiskers sparsely covering his face and making appearances throughout his eyebrows. He was slender, taller than average, and had exaggerated facial features; large luminous eyes, long eyelashes and high cheekbones. -
CMGM/7 New York, Chicago, Culver City
Oct. 14, 1968:Our 38th Year:50c THE BUSINESSWEEKLY OF TELEVISION AND RADIO New major merger- Metromedia -Transamerica. p23 Big year forecast for spot radio in '69. p26 Media -buying concern at ANA -TVB workshop. p36 Networks concerned over independents' gains. p42 tyá4rP` ti.0 Now the MGM /7 feature film list sets a brand new standard in local station programming. This one remarkable group of films can in- sure continued dominance for a feature station -or can be the basis for establishing a station as the market's best feature programmer. "The big view is the long view" because this list, with its great breadth and depth of titles, can do more for setting the local image than any other single buy. Not just for 26 weeks or for one season, but for a predictable period of years. And at a project - able cost with long -range stability in sales and audience planning. Movies are stronger than ever on television. CMGM/7 New York, Chicago, Culver City. Atlanta. Dallas. Toron) SPOTLIGHT ON STARS ... ROBERT GOULET TRINI LOPEZ ABBE LANE JACK CARTER -SHELLEY BERMAN LANA CANTRELL GEORGIA BROWN TOM JONES CONNIE STEVENS ROY CASTLE VIKKI CARR BILL DANA BARBARA McNAIR FRAN JEFFRIES PHIL SILVERS NOEL HARRISON SHANI WALLIS LAINIE KAZAN EDDIE FISHER ,TV's fastest selling musical- variety specials! NINE ONE -HOUR SUPER SPECTACULARS IN COLOR' STARRING THE GREATEST NAMES IN SHOW BUSINESS ROBERT GOULET TOM JONES TRINI LOPEZ LAINIE KAZAN JACK CARTER GEORGIA BROWN TOMMY COOPER FRAN JEFFRIES FRANK GORSHIN PHIL SILVERS ABBE LANE SHELLEY BERMAN BARBARA McNAIR NOEL HARRISON SHANI WALLIS JON WEAVING BENNY HILL ENGELBERT HUMPERDINCK PAUL ANKA BILL DANA EDDIE FISHER LANA CANTRELL VIKKI CARR CONNIE STEVENS BENNY HILL FRANKIE VAUGHAN ROY CASTLE already sold in 1st four weeks. -
Kramp RF V2i1 SP2011 (Pdf)
The Diegetic Presence and Absence of Children in the Rock and Roll Festival Film; or, Whatever Happened to the Mother and Child Reunion? by Michael Kramp The rock and roll festival films of the late 1960s and early 1970s invite us to consider the efficacy of live diegetic music—i.e. music that belongs to the narrative world a film and is captured as a live public performance—within documentaries that offer ostensibly objective treatments of historical events. These accounts of early rock and roll concerts, often dubbed rockumentaries, treat the music, musicians, scenes, and fans of the emergent rock and roll counterculture, an oft-mythologized generation that criticized the stringent ways and belligerent world of their parents and optimistically vowed to create a new social order. The musical performances in such films are well known as cultural documents that reflect the energy, creativity, and passion of this distinctive generation. The live music of these films, of course, also helps to solidify the spatio-temporal realities of these rockumentaries; as diegetic sound, it grounds people and events within real time and material places, unlike edited compilations such as music videos. And yet, the music of these festival films engenders important narrative complexities when it is used alongside montages and sound bridges—specific filmic techniques that have the capacity to modify temporal progression, complicate our perceptions of space, and destabilize the objectivity of a film. In the films that I consider here, children are consistently shown within such moments of temporal discontinuity. The Monterey Pop Festival (1967), Woodstock (1970), and The Isle of Wight Festival (1970) offer us poignant depictions of children, including announcements of children‟s births, jarring portraits of infants at rock shows, and gorgeous montages of kids and families enjoying a time of revolution and revival. -
Something Wonderful Right Away: an Oral History of the Second
Something Wonderful Right Away: An Oral History Of The Second City And The Compass Players Ebook Free Download Prominent alumni (Mike Nichols, Joan Rivers, Robert Klein, among others) bring theatrical improvisation to life, with all the vitality, the power and the exuberance - the satire and spontaneity - that they made famous and that launched their careers. "An important book about the most important American theatrical endeavor since the Group Theatre. Plus, it's fun to read". -David Mamet Paperback: 386 pages Publisher: Limelight Editions; 1st Limelight ed edition (August 1, 2004) Language: English ISBN-10: 0879100737 ISBN-13: 978-0879100735 Product Dimensions: 5.5 x 1.3 x 8.5 inches Shipping Weight: 1.4 pounds (View shipping rates and policies) Average Customer Review: 4.0 out of 5 stars 10 customer reviews Best Sellers Rank: #55,143 in Books (See Top 100 in Books) #37 in Books > Arts & Photography > Performing Arts > Theater > History & Criticism #72 in Books > Humor & Entertainment > Humor > Comedy I have watched many live Improv shows, and was able to learn the basics from "The Improv Trick" in Los Angeles, and then took classes and joined a short for troop at "Pan Theater" in Oakland. I was looking for some material about Improv, and chose this book to get a historical perspective on the formation and development of the Improv method.I would not call the book an easy read, but it is thorough. The groupings of the interviews seemed strange when I started reading, but by the end I realized it was sort of the "purists" (the founders, the art-form crowd, the "zen" of Improv) , then the "splinters" (where can Improv take us?), then the "commercials" (how can we make a watchable profitable act out of this), and then the "look back" (What worked, what failed, what were the flaws of the "greats")This is not an instruction guide, but it has the basic principles, and some really good pointers for how you can use those to "act" better, to "write" better, and to work with other performers - in any setting.