Don T Applaud Either Laugh Or Don T At The Comedy Cellar

What counts as funny, and who gets to decide? Explore the serious business of stand-up with Andrew Hankinson, author of cult classic You Could Do Something Amazing With Your Life [You Are Raoul Moat]. AMY SCHUMER. JERRY SEINFELD. CHRIS ROCK. SARAH SILVERMAN. And even Louis C.K. They all worked the Comedy Cellar in Greenwich Village, honing their acts, experimenting, taking risks. It was a place for rising stars and celebrities alike to test new work, due to the principles of its first owner, Manny Dworman, then his son Noam. The only threat to freedom of expression was a lack of laughs. But how did a New York taxi driver, born in Tel Aviv, create comedy's most important stage? How did he influence some of the biggest names in stand-up? What are the limits of a joke? Who decides? Andrew Hankinson speaks candidly with the Cellar's owner, comedians, and audience members, using interviews, emails, podcasts, letters, text messages, and previously private documents to create a conversation about the perils, pride, and prejudice of modern comedy. Moving backwards in time from Louis CK's downfall to when Manny used to host folk singers including Bob Dylan, this is about a comedy club, but it's also about the widening chasm in contemporary culture.

Named a Most Anticipated Book by Vulture, Elle, Chicago Tribune, The Millions, and Lit Hub "Comedy Book changes the way we talk about an art form that is more diverse and exciting than ever before.” —Seth Meyers "A sharp, loving, well written exploration and analysis of the art form that makes us smile, helps us relate, and is perpetually mysterious." —Jenny Slate From a beloved comedy critic, a wisecracking, heartfelt, and overdue chronicle of comedy’s boom—and its magic. Comedy is king. From multimillion-dollar TV specials to sold-out stand-up shows and TikTok stardom, comedy has never been more popular, democratized, or influential. Comedians have become organizing forces across culture—as trusted as politicians and as fawned-over as celebrities—yet comedy as an art form has gone under-considered throughout its history, even as it has ascended as a cultural force. In Comedy Book, Jesse David Fox—the country’s most definitive voice in comedy criticism and someone who, in his own words, “enjoys comedy maybe more than anyone on this planet"—tackles everything you need to know about comedy. Weaving together history and analysis, Fox unravels the genre’s political legacy through an ode to Jon Stewart, interrogates the divide between highbrow and lowbrow via Adam Sandler, and unpacks how marginalized comics create spaces for their communities. Along the way, Fox covers everything from comedy in the age of political correctness and Will Smith’s slap to the right wing’s relationship with comedy and, for Fox, comedy’s ability to heal personal tragedy. With memorable cameos from Jerry Seinfeld, Dave Chappelle, John Mulaney, Ali Wong, Kate Berlant, and countless others, Comedy Book is an eye-opening education in how to engage with our most omnipresent art form, a riotous history of American pop culture, and a love letter to laughter.

"These are the last days of Raoul Moat. Raoul Moat was the fugitive Geordie bodybuilder-mechanic who became notorious one hot July week when, after killing his ex-girlfriend's new boyfriend, shooting her in the stomach, and blinding a policeman, he disappeared into the woods of Northumberland, evading discovery for seven days - even after TV tracker Ray Mears was employed by the police to find him. Eventually, cornered by the police, Moat shot himself. Andrew Hankinson, a journalist from Newcastle, re-tells Moat's story using Moat's words, and those of the state services which engaged with him, bringing the reader disarmingly close at all times to the mind of Moat."--Amazon.com.

The Tyne Bridge, opened in 1928 by King George V, is one of Britain’s most iconic structures, a Grade II* listed building. Linking Newcastle and Gateshead, this symbol of Tyneside and the region is also a monument to the Tyne’s industrial past. Paul Brown’s popular history explores what the bridge means to the people of North-East England, and its deep connection with their heritage. Brown recounts the story of the bridge’s predecessors, from the Roman Pons Aelius–the first crossing over the Tyne–to the Victorian era. He then brings to life the individuals who built the modern bridge: Ralph Freeman, the structural engineer who also designed the Sydney Harbour Bridge; Dorothy Buchanan, the first female member of the Institution of Civil Engineers, who produced drawings and calculations; John Carr, the boatman who bravely rescued workers from the Tyne on dozens of occasions; and the scaffolder Nathaniel Collins, the only man not to survive construction of the arch, who fell from the bridge just weeks before its completion. This richly illustrated book charts the Tyne Bridge’s story right to the present, exploring how it remains a North-Eastern cultural emblem, in a region that has changed almost unrecognisably since its heyday in the late 1920s.

What is it to be a stand-up comedian? To be funny, solo? You have no character-role, no double-act partner, and nowhere to look but out into the darkness, with just a microphone, an audience and your imagination. This is a job without an annual appraisal; a job where you are publicly appraised every ten seconds. The results are harsh and obvious: if the audience isn't laughing, you 'died'; if they can't stop, you 'killed'. Deborah Frances-White and Marsha Shandur unpack the inner-workings of the minds of comics, sharing their secrets, insecurities and successes; their bêtes noires and their biggest fears. Featuring interviews with a host of comedians including Eddie Izzard, Moshe Kasher, Sarah Millican, Jim Jeffries, Stewart Lee, Lewis Black, Jenny Eclair, Todd Barry, Richard Herring, Marc Maron, Stephen K Amos, Rich Hall, Zoe Lyons, Marcus Brigstocke, Phill Jupitus, Gary Delaney, Mark Watson, Greg Davies and many more, this excellent book lets you in to the hearts and minds of celebrated comedians, away from the stage and off the mic.

A couple years back, I was at the Phoenix airport bar. It was empty except for one heavy-set, gray bearded, grizzled guy who looked like he just rode his donkey into town after a long day of panning for silver in them thar hills. He ordered a Jack Daniels straight up, and that's when I overheard the young guy with the earring behind the bar asking him if he had ID. At first the old sea captain just laughed. But the guy with the twinkle in his ear asked again. At this point it became apparent that he was serious. Dan Haggerty's dad fired back, "You've got to be kidding me, son." The bartender replied, "New policy. Everyone has to show their ID." Then I watched Burl Ives reluctantly reach into his dungarees and pull out his military identification card from World War II. It's a sad and eerie harbinger of our times that the Oprah-watching, crystal-rubbing, Whole Foods-shopping moms and their whipped attorney husbands have taken the ability to reason away from the poor schlub who makes the Bloody Marys. What we used to settle with common sense or a fist, we now settle with hand sanitizer and lawyers. Adam Carolla has had enough of this insanity and he's here to help us get our collective balls back. In Fifty Years We'll All Be Chicks is Adam's comedic gospel of modern America. He rips into the absurdity of the culture that demonized the peanut butter and jelly sandwich, turned the nation's bathrooms into a lawless free-for-all of urine and fecal matter, and put its citizens at the mercy of a bunch of minimum wagers with axes to grind. Peppered between complaints Carolla shares candid anecdotes from his day to day life as well as his past—Sunday football at Jimmy Kimmel's house, his attempts to raise his kids in a society that he mostly disagrees with, his big showbiz break, and much, much more. Brilliantly showcasing Adam's spot-on sense of humor, this book cements his status as a cultural commentator/comedian/complainer extraordinaire.

Doug Stanhope is one of the most critically acclaimed and stridently unrepentant comedians of his generation. What will surprise some is that he owes so much of his dark and sometimes uncomfortably honest sense of humor to his mother, Bonnie. It was the cartoons in her Hustler magazine issues that molded the beginnings of his comedic journey, long before he was old enough to know what to do with the actual pornography. It was Bonnie who recited Monty Python sketches with him, who introduced him to Richard Pryor at nine years old, and who rescued him from a psychologist when he brought that brand of humor to school. And it was Bonnie who took him along to all of her AA meetings, where Doug undoubtedly found inspiration for his own storytelling. Bonnie's own path from bartending to truck driving, massage therapy, elder abuse, stand-up comedy, and acting never stopped her from being Doug's genuine number one fan. So when her alcoholic, hoarding life finally came to an end many weird adventures later in rural Arizona, it was inevitable that Doug and Bonnie would be together for one last excursion. Digging Up Mother follows Doug's absurd, chaotic, and often obscene life as it intersects with that of his best friend, biggest fan, and love of his life-his mother. And it all starts with her death-one of the most memorable and amazing farewells you will ever read.

In the late 1970s, the alternative comedy scene exploded into life in Britain and completely changed the style, subject matter and politics of British stand-up. Contemporary critics talked about it as 'anti-matter comedy' that 'makes you laugh while actually rearranging large chunks of your brain'. This book draws on a wealth of archive material – including unpublished recordings of early performances – and new interviews with key figures such as Alexei Sayle, Andy de la Tour and Jim Barclay, to provide a detailed history of the early scene and an examination of the distinctive modes of performance style which developed. Beginning with its origins, the volume traces the influence of American stand-up, and in particular the significance of Mort Sahl and Lenny Bruce as the originators of a style of stand-up that influenced the British pioneers of alternative comedy. It shows how the opening of the Comedy Store in 1979 provided a catalyst for a new movement, which grew outward from there with the foundation of the group Alternative Cabaret and the opening of the Comic Strip. But it also looks at smaller venues and less celebrated acts that have not been as well remembered, including ranting poets and street performers. Finally, it looks at alternative comedy's legacy, showing how it was the starting point for the UK's thriving and varied live scene, which encompasses anything from small pub gigs to huge arena tours.