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

"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.

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.

This lighthearted and eye-opening book explores the role of comedy in cultural and political critiques of American society from the past century. This unprecedented look at the history of satire in America showcases the means by which our society is informed by humor—from the way we examine the news, to how we communicate with each other, to what we seek out for entertainment. From biographical information to critical reception of material and personalities, the book features humorists from both literary and popular culture settings spanning the past 100 years. Through its 180 entries, this comprehensive volume covers a range of artists—individuals such as Joan Rivers, Hunter S. Thompson, and Chris Rock—and topics, including vaudeville, cartoons, and live performances. The content is organized by media and genre to showcase connections between writers and performers. Chapters include an alphabetical listing of humorists grouped by television and film stars, stand-up and performance comics, literary humorists, and humorists in popular print.

“The definitive book about Bob Clark’s 1983 classic holiday film. Filled with untold stories, unreleased photographs, and much more” (Parade). This ultimate guide to everything fans want to know about A Christmas Story shares the inside scoop behind the film’s production, release, and unlikely ascent to the top of popular culture. From Jean Shepherd’s original radio broadcasts to Bob Clark’s 1983 sleeper hit film and beyond, A Christmas Story has become a beloved Yuletide tradition over the last three decades. This is the untold story of the making of the film—and what happened afterwards. Ralphie Parker’s quest for a Red Ryder air rifle didn’t end with the movie’s release; the tale inspired massive VHS sales, a Broadway production, and a mountain of merchandise. Complete with rare and previously unreleased photographs, now fans of the movie and film buffs alike can lean all they didn’t know about the timeless classic. “Entertainingly and exhaustively sheds new light on a movie that everyone loves and thinks they know inside and out. Engaging and packed with enlightening anecdotes, it’s a perfect companion to the movie.” —Richard Crouse, author of 100 Best Movies You’ve Never Seen and Raising Hell: Ken Russell and the Unmaking of The Devils “Caseen Gaines’ comprehensive, insightful, and beautifully illustrated look at Ralphie Parker and his family will make perennial viewings of this beloved comedy an even richer and more entertaining tradition.” —Jeremy Kinser, Queerty “An iconic and brilliant part of Americana is brought back to life through Caseen Gaines’ book. I couldn’t stop smiling while reading it!” —Noah Levy, cohost of VH1’s The Gossip Table

Henry Mancini's Peter Gunn theme. Lalo Schifrin's Mission: Impossible theme. John Barry's arrangement of the James Bond theme. These iconic melodies have remained a part of the pop culture landscape since their debuts in the late 1950s and early '60s: a "golden decade" that highlighted an era when movie studios and TV production companies employed full orchestral ensembles to provide a jazz backdrop for the suspenseful adventures of secret agents, private detectives, cops, spies and heist-minded criminals. Hundreds of additional films and television shows made during this period were propelled by similarly swinging title themes and underscores, many of which have (undeservedly) faded into obscurity. This meticulously researched book traces the embryonic use of jazz in mainstream entertainment from the early 1950s--when conservative viewers still considered this genre "the devil's music"--to its explosive heyday throughout the 1960s. Fans frustrated by the lack of attention paid to jazz soundtrack composers--including Jerry Goldsmith, Edwin Astley, Roy Budd, Quincy Jones, Dave Grusin, Jerry Fielding and many, many others--will find solace in these pages (along with all the information needed to enhance one's music library). The exploration of action jazz continues in this book's companion volume, Crime and Action Jazz on Screen Since 1971.