Excelsior You Fathead

Jean Shepherd (1921-1999) master humorist is best known for his creation ÊA Christmas StoryÊ the popular movie about the child who wants a BB gun for Christmas and nearly shoots his eye out. What else did Shepherd do? He is considered by many to be the Mark Twain and James Thurber of his day. For many thousands of fans for decades Shep talked on the radio late at night keeping them up way past their bedtimes. He entertained without a script improvising like a jazz musician on any and every subject you can imagine. He invented and remains the master of talk radio. Shepherd perpetrated one of the great literary hoaxes of all time promoting a nonexistent book and author and then brought the book into existence. He wrote 23 short stories for ÊPlayboyÊ four times winning their humor of the year award and also interviewed The Beatles for the magazine. He authored several popular books of humor and satire created several television series and acted in several plays. He is the model for the character played by Jason Robards in the play and movie ÊA Thousand ClownsÊ as well as the inspiration for the Shel Silverstein song made famous by Johnny Cash A Boy Named Sue. Readers will learn the significance of innumerable Shepherd words and phrases such as Excelsior you fathead and observe his constant confrontations with the America he loved. They will get to know and understand this multitalented genius by peeking behind the wall he built for himself ä a wall to hide a different and less agreeable persona. Through interviews with his friends co-workers and creative associates such as musician David Amram cartoonist and playwright Jules Feiffer publisher and broadcaster Paul Krassner and author Norman Mailer the book explains a complex and unique genius of our time. Shepherd pretty much invented talk radio ... What I got of him was a wonder at the world one man could create. I am as awed now by his achievement as I was then. ä Richard Corliss ÊTimeÊ magazine online

(Applause Books). Jean Shepherd (1921-1999), master humorist, is best known for his creation A Christmas Story , the popular movie about the child who wants a BB gun for Christmas and nearly shoots his eye out. What else did Shepherd do? He is considered by many to be the Mark Twain and James Thurber of his day. For many thousands of fans, for decades, "Shep" talked on the radio late at night, keeping them up way past their bedtimes. He entertained without a script, improvising like a jazz musician, on any and every subject you can imagine. He invented and remains the master of talk radio. Shepherd perpetrated one of the great literary hoaxes of all time, promoting a nonexistent book and author, and then brought the book into existence. He wrote 23 short stories for Playboy , four times winning their humor of the year award, and also interviewed the Beatles for the magazine. He authored several popular books of humor and satire, created several television series and acted in several plays. He is the model for the character played by Jason Robards in the play and movie A Thousand Clowns , as well as the inspiration for the Shel Silverstein song made famous by Johnny Cash, "A Boy Named Sue." Readers will learn the significance of innumerable Shepherd words and phrases, such as "Excelsior, you fathead," and observe his constant confrontations with the America he loved. They will get to know and understand this multitalented genius by peeking behind the wall he built for himself a wall to hide a different and less agreeable persona. Through interviews with his friends, co-workers and creative associates, such as musician David Amram, cartoonist and playwright Jules Feiffer, publisher and broadcaster Paul Krassner, and author Norman Mailer, the book explains a complex and unique genius of our time. "Shepherd pretty much invented talk radio ... What I got of him was a wonder at the world one man could create. I am as awed now by his achievement as I was then." Richard Corliss, Time magazine online

"Matthew, so few humans achieve their destiny before leaving this world. You have that chance."Matthew Peters had spent the last seven years creating the ultimate online comic hero. He never dreamed that he would find the true hero within himself.

(Book). Disclaimer: No U.S. Military Personnel were harmed during the making of these fictional reminiscences. No warrior is more forgotten than he who has been left behind by the war department. Most men who have never tasted combat beyond the occasional fistfight on poker night quickly learn to lay low and zip the lip when battlefield stories are unfurled by the Purple Hearters at the dinner table. Except, of course, for our man Jean Shepherd. Fearless in his uncombativeness, he manfully fought his dearth of frontline duty with the weapons he wielded unmatched by even the most decorated dogface: rapid-fire griping and explosive laughter. Jean Shepherd was, and remains, a pervasive part of American culture. His quirky individuality was portrayed for posterity by Jason Robards in the play and film, A Thousand Clowns , written by Shep's close pal, Herb Gardner. Jack Nicholson embodied a Shepherd-like late-night radio talker in The King of Marvin Gardens . While in Network , by Paddy Chayefsky (another of Shep's comic cohorts), the television newscaster beseeches his listeners to open their windows and yell, "I'm mad as hell, and I'm not going to take this anymore," an unmistakable echo of Shepherd's radio habit of "hurling an invective" like a hand grenade out into the nation's air waves. Shepherd was a spiritual father to Garrison Keillor, Daniel Pinkwater, Bill Harley, Paul Krassner and Joe Frank. Tens of thousands of rabid fans stayed up past their bedtime with transistor radios stashed under their pillows to follow Shep's always unpredictable, usually extemporaneous, verbal forays into current events, social mores, idle thoughts, stories about his childhood in northern Indiana ("I was this kid, see..."), his army days, and his idiosyncratic take on his world-wide travels. Shepherd once bamboozled an innocent public, and gullible publishing world, by promoting a non-existent book ( I, Libertine ) and author (Frederick R. Ewing), then co-writing it with sci-fi author Theodore Sturgeon. It sold in best-seller numbers. Shepherd wrote nearly two dozen stories for Playboy and even interviewed the Beatles for the magazine. He published several best-selling books of his stories and articles; he appeared at Carnegie Hall, Town Hall, and in hundreds of jam-packed college auditoriums. Shep's Army is the first volume of new Shepherd tales to be published in a quarter century.

A sweeping, anecdotal account of the great sounds and voices of radio–and how it became a bonding agent for a generation of American youth When television became the next big thing in broadcast entertainment, everyone figured video would kill the radio star–and radio, period. But radio came roaring back with a whole new concept. The war was over, the baby boom was on, the country was in clover, and a bold new beat was giving the syrupy songs of yesteryear a run for their money. Add transistors, 45 rpm records, and a young man named Elvis to the mix, and the result was the perfect storm that rocked, rolled, and reinvented radio. Visionary entrepreneurs like Todd Storz pioneered the Top 40 concept, which united a generation. But it took trendsetting “disc jockeys” like Alan Freed, Murray the K, Wolfman Jack, Cousin Brucie, and their fast-talking, too-cool-for-school counterparts across the land to turn time, temperature, and the same irresistible hit tunes played again and again into the ubiquitous sound track of the fifties and sixties. The Top 40 sound broke through racial barriers, galvanized coming-of-age kids (and scandalized their perplexed parents), and provided the insistent, inescapable backbeat for times that were a-changin’. Along with rock-and-roll music came the attitude that would literally change the “voice” of radio forever, via the likes of raconteur Jean Shepherd, who captivated his loyal following of “Night People”; the inimitable Bob Fass, whose groundbreaking Radio Unnameable inaugurated the anything-goes free-form style that would come to define the alternative frontier of FM; and a small-time Top 40 deejay who would ultimately find national fame as a political talk-show host named Rush Limbaugh. From Hunter Hancock, who pushed beyond the limits of 1950s racial segregation with rhythm and blues and hepcat patter, to Howard Stern, who blew through all the limits with a blue streak of outrageous on-air antics; from the heyday of summer songs that united carefree listeners to the latter days of political talk that divides contentious callers; from the haze of classic rock to the latest craze in hip-hop, Something in the Air chronicles the extraordinary evolution of the unique and timeless medium that captured our hearts and minds, shook up our souls, tuned in–and turned on–our consciousness, and went from being written off to rewriting the rules of pop culture.

A vibrant narrative history of three hallowed Manhattan blocks—the epicenter of American cool. St. Marks Place in New York City has spawned countless artistic and political movements. Here Frank O’Hara caroused, Emma Goldman plotted, and the Velvet Underground wailed. But every generation of miscreant denizens believes that their era, and no other, marked the street’s apex. This idiosyncratic work of reportage tells the many layered history of the street—from its beginnings as Colonial Dutch Director-General Peter Stuyvesant’s pear orchard to today’s hipster playground—organized around those pivotal moments when critics declared “St. Marks is dead.” In a narrative enriched by hundreds of interviews and dozens of rare images, St. Marks native Ada Calhoun profiles iconic characters from W. H. Auden to Abbie Hoffman, from Keith Haring to the Beastie Boys, among many others. She argues that St. Marks has variously been an elite address, an immigrants’ haven, a mafia warzone, a hippie paradise, and a backdrop to the film Kids—but it has always been a place that outsiders call home. This idiosyncratic work offers a bold new perspective on gentrification, urban nostalgia, and the evolution of a community.

A collection of humorous and nostalgic Americana stories—the beloved, bestselling classics that inspired the movie A Christmas Story Before Garrison Keillor and Spalding Gray there was Jean Shepherd: a master monologist and writer who spun the materials of his all-American childhood into immensely resonant—and utterly hilarious—works of comic art. In God We Trust: All Others Pay Cash represents one of the peaks of his achievement, a compound of irony, affection, and perfect detail that speaks across generations. In God We Trust, Shepherd's wildly witty reunion with his Indiana hometown, disproves the adage “You can never go back.” Bending the ear of Flick, his childhood-buddy-turned-bartender, Shepherd recalls passionately his genuine Red Ryder BB gun, confesses adolescent failure in the arms of Junie Jo Prewitt, and relives a story of man against fish that not even Hemingway could rival. From pop art to the World's Fair, Shepherd's subjects speak with a universal irony and are deeply and unabashedly grounded in American Midwestern life, together rendering a wonderfully nostalgic impression of a more innocent era when life was good, fun was clean, and station wagons roamed the earth. A comic genius who bridged the gap between James Thurber and David Sedaris, Shepherd may have accomplished for Holden, Indiana, what Mark Twain did for Hannibal, Missouri.