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"No one makes me laugh harder than Judy Gold. If I had to pick one comedian to write a book about free speech, it would be Judy." - Amy Schumer From award-winning comedian Judy Gold, an equal parts thoughtful and hilarious polemic on the current efforts to censor comedians, arguing that they undermine the art-and purpose-of comedy itself. "You can say anything that comes to mind as long as it is funny." - Richard Pryor The fallout after Michelle Wolf's roast at the 2018 White House Correspondent's Dinner, Samantha Bee's forced apology after calling Ivanka Trump a "feckless c*nt," Kathy Griffin's being "blacklisted" from Hollywood after posting a photo with what looked like the president's severed head, all represent a dangerous and growing trend-to censor comedians. In Yes I Can Say That, comedy veteran Judy Gold argues that "no one has the right to tell comics what they can or cannot joke about.... Laughter is a unifier. It's the best medicine. It's also the most palatable way to bring up seditious, subversive topics." For Gold, nothing is more insidious than enforcing silence and repressing jokes-the job of a comedian is to expose society's demons, and confront them head-on, no prisoners allowed. In ten impassioned polemics, she frames comedy as a tool of empowerment, a way to reclaim hateful rhetoric and battle the democracy-crushing plight of censorship. Uninhibited and bold, Gold is as skilled at making readers laugh as she is at exposing uncomfortable truths about our culture and society. In this era of partisan politics and gaping inequalities, Yes I Can Say That is the refreshingly candid, wickedly funny and deliciously blunt manifesto we need.
"Great Operas of Puccini" is a hardback compendium of Michael Steen's eGuides (internet guides) to all the operas composed by Giacomo Puccini, the great composer of Italian opera. The book is a companion to "Great Operas of Wagner", a similar hardback being published simultaneously. The books are associated with the series of internet guides, "The Great Opera Companion" subtitled "Guides to One hundred Best Operas". This is Steen's first venture into hardback self-publication, having previously been involved in the publication of internet ebooks. Recently, Steen has been developing the series of internet guides, "The Great Opera Companion", subtitled "Guides to One hundred Best Operas", (see www.greatoperas.net). Now, the internet guides to all Puccini's operas have been brought together in these hardback compendiums, which are beautifully produced, a pleasure to browse and hold. The features are as follows: (1) They fulfill a purpose. The guides were originally designed to inform the author's wife (who is not especially enthusiastic about opera), in a quick, efficient, light and amusing way, about what it would help her to know and expect when going to a performance. Also, people generally find that they do not have time, and there are too many distractions, to inform themselves once they have arrived in the foyer. A broad-ranging but economical, practical, crisp, and modern Guide contributes greatly to appreciation and enjoyment. (2) Structure helpful to the user. Each individual guide, or chapter, is divided into sections. A quick grasp can be obtained from BACKGROUND and the following WHO'S WHO and WHAT'S WHAT (a short summary of the opera story and the roles). In TALKING POINTS the information is expanded. This may facilitate conversation during the interval, before or afterwards. ACT by ACT enables the opera-goer to `dig deeper', to appreciate further detail about the story and aspects of the music. The guides provide a brief potted biography of the composer, or a cross reference to one. (3) Self-standing guides. Each guide is self-standing and designed to be the sole point of reference for a specific opera. In such a structure, there is an inevitable element of duplication as information is amplified or repeated. The author has had to judge the balance between making each guide easy to follow for the user, while avoiding too many cross-references. For example, the seduction of Doria, the Puccini's house-servant, is relevant to a number of his operas. In such a structure, it is helpful for certain of the images to be repeated. This also provides an element of unity and cohesion to the publication. (4) Non-technical. It has been assumed that the user has not necessarily been taught music but is motivated, educated and intelligent. Only in the guides on the later Wagner operas are a small number of musical examples quoted. There, to help the reader, the musical notation has been simplified. The examples are necessary to elaborate on Wagner's objectives. And to give substance to various expressions, such as to Wagner's `Tristan chord' which greatly influenced subsequent music; and to his leitmotives (recurring musical themes which Wagner uses to portray a person, object or emotion etc.). (5) User-friendly: indexes, summaries glossaries. The hardbacks require indexes which are not so necessary in the ebook environment. Both hardbacks include a comprehensive index, including an index to some better known items, arias, choruses etc. in the operas. (6) What about different productions? There is well-identified controversy today about the extent to which it should be acceptable for opera directors to change the time and/or the place of story, the story itself, perhaps sensationalising it, maybe to attract and retain an audience's attention or to make some political point. Steen describes this as `hijacking' the opera. Each Guide carries a warning that the guides cannot anticipate a particular production which does not conform to the composer's intentions. Steen's individual guides are based on the actual libretto. As such, they provide a benchmark against which an assessment can be made, albeit subjectively, about whether the opera is indeed the `composer's opera' or is mis-described as such. This is a judgemental matter. Productions inevitably have to be changed (for there are no castratos today, as there were in baroque opera) and they should take advantage of modern technology. But arguably many directors have pushed the limits beyond recognition such that it is questionable whether a particular production should properly be described as the composer's opera at all. Opera is entertainment. However entertaining and enjoyable a great evening may have been for an audience, the performance may have strayed beyond one which is faithful to the composer's intentions. (7) What about other opera guides - the associated eguides in "The Great Opera Companion" series? As indicated above, Steen has been developing his series of internet guides, "The Great Opera Companion" subtitled "Guides to One hundred Best Operas". This was begun in 2012 with the publication, again by Icon, of the hardback compendium "Great Operas - A Guide to 25 of the World's Finest Musical Experiences". Individual internet guides (eGuides) were subsequently published singly for iPad, Kindle etc. Apart from those published by Icon, they were subsequently withdrawn when their internet publisher (not Icon) unfortunately ceased trading early in 2016. The first twenty-five (those published by Icon) were supplemented in the further ebook compendiums "More Great Operas" (ISBN 9781483569123) and "Many More Great Operas" (ISBN 9780995538511). For convenience, the latter, although subtitled "A guide to 40 more of the world's finest musical experiences", has been periodically supplemented by the addition of many appendices of individual eGuides. (The series, as it stands, actually comprises one hundred and twenty eGuides, and a few more, depending on whether one counts one-act operas as one or two.) (8) What about the other opera guides available? Steen's guides are broader in coverage, lighter in touch and more entertaining than opera material which is generally available on the internet, or in the standard hard-copy opera guides. They are easy to read, but authoritative. They are full of insights. They enable the user to get more value out of an evening at an opera, which is often an expensive one. (9) Some hurdles encountered. The author experienced various hiccups in the development of these guides, the most memorable being in 2016 when, on a Friday night, he was notified `out of the blue' that the company publishing on the internet had ceased to trade and that the work-in-progress was lost in the ether. It took a considerable time to recover the work. Steven Weekes, the Irishman who had been handling the project, had lost his job, and his working facilities (including his email address) had been withdrawn. It took a long time to identify him, contact him, and get the `show back on the road'. (10)These guides are the perfect accompaniment to a `night at an opera' - whether in cinema, country house garden, the cities, or just sitting comfortably listening. They are also useful in education, and in teaching musical appreciation. They will be valued by old and young, seasoned and unseasoned, whether attending the opera performances in so many of the world's leading cities in North and South America, Asia, Australasia, Africa and Europe perhaps Sydney, Tokyo, Covent Garden or the Met. Or in the UK, at the innumerable venues, such as Glyndebourne, Garsington, Grange Festival, Grange Park Opera. Even deep into the countryside of the British Isles, say, Longborough and Nevill Holt. And across the fields near the home of the author, West Green House Opera and the local village hall close to the author's home, the hall which is amongst the 1,000 cinemas venues to which operas are streamed.
Canada's recent sesquicentennial celebrations were the latest in a long, steady progression of Canadian cultural memory projects. Unbecoming Nationalism investigates the power of commemorative performances in the production of nationalist narratives. Using 'unbecoming' as a theoretical framework to unsettle or decolonize nationalist narratives, Helene Vosters examines an eclectic range of both state-sponsored social memory projects and counter-memorial projects to reveal and unravel the threads connecting reverential military commemoration, celebratory cultural nationalism, and white settler-colonial nationalism. Vosters brings readings of institutional, aesthetic, and activist performances of Canadian military commemoration, settler-colonial nationalism, and redress into conversation with literature that examines the relationship between memory, violence, and nationalism from the disciplinary arenas of performance studies, Canadian studies, critical race and Indigenous studies, memory studies, and queer and gender studies. In addition to using performance as a theoretical framework, Vosters uses performance to enact a philosophy of praxis and embodied theory.
The accused was a slight, frightened man who had deliberately broken the law. His trial was a Roman circus. The chief gladiators were two great legal giants of the century. Like two bull elephants locked in mortal combat, they bellowed and roared imprecations and abuse. The spectators sat uneasily in the sweltering heat with murder in their hearts, barely able to restrain themselves. At stake was the freedom of every American. One of the most moving and meaningful plays of our generation. "a tidal wave of a drama." -- New York World-Telegram And Sun
Imagine the twentieth century without photography and film. Its history would be absent of images that define historical moments and generations: the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. It would be a history, in other words, of just artists' renderings and the spoken and written word. To inhabitants of the twenty-first century, deeply immersed in visual culture, such a history seems insubstantial, imprecise, and even, perhaps, unscientific.Documenting the World is about the material and social life of photographs and film made in the scientific quest to document the world. Drawing on scholars from the fields of art history, visual anthropology, and science and technology studies, the chapters in this book explore how this documentation from the initial recording of images, to their acquisition and storage, to their circulation has altered our lives, our ways of knowing, our social and economic relationships, and even our surroundings. Far beyond mere illustration, photography and film have become an integral, transformative part of the world they seek to show us.
This collection of 51 essays contains rich memories of Singapore's broadcasting pioneers based in their station atop Caldecott Hill. ON AIR captures the breadth and depth of their experiences over 82 years on the Hill; from the founding in 1936 of the British Malayan Broadcasting Corporation, to Radio and Television Singapore (RTS), to Singapore Broadcasting Corporation (SBC), and finally to what is today, Mediacorp. In this book, the writrers have recorded eight decades worth of work experiences and have shared untold stories from the Japanese Occupation of Caldecott Hill, to the fascinating behind-the-scenes happenings that cast light and well known and well loved shows. Illustrated with rare, archival photographs, many not seen before, this publication is the first of its kind that gives an insight into the development of broadcasting in Singapore.
Mass media play a significant role in the production and reproduction of identities and lifestyles, values and world-views. They also convey information about the world we live in, as they reflect elements of the broader context within which they come into being. This volume, the first on this topic to be published in Poland, brings together eleven essays that offer a complex approach to both media in the PRC and the way China and the Chinese are presented in the media of other countries. Individual chapters discuss images constructed, persuasive techniques employed, political undertakings and official stances reflected, as well as popular feeling expressed in the Chinese official and popular press, information websites, Internet forums, mainstream Western press, Polish and Italian media, Zambian Internet forums, and Indonesian cinema. Media in China, China in the Media. Processes, Strategies, Images, Identities will be stimulating reading for students and scholars of media and mass communication, political studies, cultural and gender studies, interested in the following topics: the Chinese media discourse, transparency as to government activities, Chinese nationalism, the Chinese diaspora, Sino-African relations.
Dioramas and panoramas, freaks and magicians, waxworks and menageries, obscure relics and stuffed animals--a dazzling assortment of curiosities attracted the gaze of the nineteenth-century spectator at the dime museum. This distinctly American phenomenon was unprecedented in both the diversity of its amusements and in its democratic appeal, with audiences traversing the boundaries of ethnicity, gender, and class. Andrea Stulman Dennett's Weird and Wonderful: The Dime Museum in America recaptures this ephemeral and scarcely documented institution of American culture from the margins of history.
Weird and Wonderful chronicles the evolution of the dime museum from its eighteenth-century inception as a "cabinet of curiosities" to its death at the hands of new amusement technologies in the early twentieth century. From big theaters which accommodated audiences of three thousand to meager converted storefronts exhibiting petrified wood and living anomalies, this study vividly reanimates the array of museums, exhibits, and performances that make up this entertainment institution. Tracing the scattered legacy of the dime museum from vaudeville theater to Ripley's museum to the talk show spectacles of today, Dennett makes a significant contribution to the history of American popular entertainment.
This is a bestselling and comprehensive introductory textbook that uses a four-part structure to cover all aspects of the visual arts, including: how art is designed - the visual language of art; how art is made - the media and processes, covering everything from painting and sculpture to graphic design, digital media, film and installations; the history of art, from prehistoric times to the twenty-first century and including art from all parts of the world; and major themes that recur across cultures and throughout history. A unique feature, the 'Gateways to Art', uses eight iconic images, examined repeatedly from different points of view (compositional, stylistic, etc.), to stimulate perceptions about how great works are created and take their effect. No other book currently available has such a wide coverage, provided in a modular form that enables students and teachers to learn or teach in a truly flexible way. Beautifully illustrated with more than 1,000 images of art, this dynamic and accessible book will appeal as much to the art enthusiast as to those looking for an outstanding educational resource.
'Who is the real Billy Connolly?'
He's the man who needs no introduction, and yet he is the ultimate enigma. From a troubled and desperately poor childhood in the docklands of Glasgow he is now the intimate of household names the world over. But who is the man behind the myth?
'If anyone knows Billy Connolly better than himself, it's his wife, Pamela Stephenson.'
In this extraordinary book, she combines the very personal with the very frank objectivity that makes for a compellingly moving – yet hugely entertaining – biography.
''This' is the real Billy Connolly'
Writers are storytellers. The best of them have utilized the principles of myth to create masterful stories that are dramatic, entertaining and psychologically true. Based on the work of Joseph Campbell, this edition provides an insider's look at how writers (both fiction and non-fiction) can utilize mythic structure to create powerful narratives. Writers will discover step by step guidelines for structuring plots and creating realistic characters. This new 4th edition adds 30% new material.
This wonderfully practical book literally shows you how to make costumes for plays, pageants and musicals at the lowest possible expense! Over 150 detailed illustrations work with the easy-to-follow text to walk you through every step of the process. Just about every basic period is covered: Biblical to Medieval, Renaissance, Angels, The Fabulous Fifties, 1800s to World War I, The Roaring Twenties and more. Many helpful hints on making or buying realistic period theatrical costumes on a shoestring budget from cast-offs, donations, scraps and other easily-obtained materials. Also included are "special effects" costumes, helpful hints for getting into and out of costumes, and a glossary of costuming terms. A book that will pay for itself with its first use. Contents: Resources: Where Do I Start?, Period Costumes, Who Was That Masked Man?, Undemeath it All, Helpful Hints and Useful Information, The Play's the Thing, Epilogue: Behind the Scenes, Glossary.
I here and there o'heard a Coxcomb cry,
'Terrific. So funny' Zadie Smith 'Monstrously depressing but so comic and well observed that I didn't really mind .... It is great' Dolly Alderton 'A dark comedy of female rage' Catherine Lacey 'Brilliant. For fans of Ottessa Moshfegh's My Year of Rest and Relaxation' Pandora Sykes 'Funny, shocking, clever, and hugely entertaining' Roddy Doyle 'A definitive work of milennial literature' Jia Tolentino 'The best thing I've read in years' Emma Jane Unsworth 'Vicious ... hilariously spot on' Guardian In a windowless office, a woman explains something from her real, nonwork life - about the frustration and indignity of returning her online shopping - to her colleagues. One wears a topknot. Another checks her pedometer. Watching them all is Millie. Thirty-years-old and an eternal temp, she says almost nothing, almost all of the time. But then the possibility of a permanent job arises. Will it bring the new life Millie is envisioning - one involving a gym membership, a book club, and a lot less beer and TV - finally within reach? Or will it reveal just how hollow that vision has become? 'Made me laugh and cry enough times to feel completely reborn' The Paris Review 'A definite work of millennial literature. Wretchedly riveting, with the sick, obsessive pleasure of looking under a bandage at a wound' The New Yorker 'So darkly funny and acutely observed that it feels like a documentary' Andrew McMillan 'Anyone who has ever felt like their life is going nowhere - and to make it worse, going nowhere in an achingly slow manner - will recognize themselves' Nylon
Dance improvisation, the intriguing phenomenon of the creative
process alive in the moving body, exists powerfully, sublimely -
lending insight, solving problems, allowing moments of
transcendence, diversion, and delight. Flourishing especially since
the postmodern movement of the 1960s, it has come into its own in
the performing arts. While there are many books containing ideas
for developing improvisations, few have tackled the difficult
questions: "What is dance improvisation?" "How does it work?" or
"What is its body of knowledge?"
An inspiring, real world guide for artists that shows how to build a successful, stable career in the performing arts, from the President and CEO of The Music Center in Los Angeles. While performing artists have many educational opportunities to perfect their craft, they are often on their own when it comes to learning the business skills necessary to launch their careers. In The Artist's Compass, Rachel Moore shares how to make life as a performer more successful, secure, and sustainable by approaching a career in the arts like an entrepreneur. She teaches aspiring performers how to take charge of their own careers and how to create their own brand and marketing platform to achieve personal and professional success. Moore combines her artistic and corporate experience to address the finer points of building a career in a challenging industry. The Artist's Compass is the essential success guide for aspiring artists, driving home the point that honing professional skills beyond the stage is not forsaking one's art, but for the sake of one's art.
The focus of Chinese literary studies has long been on the written word even though Chinese fiction and drama have strong oral roots and have been shaped by an interplay between oral and written traditions. The culmination of decades working on this issue - and using as its lens the story about how the legendary hero Wu Song killed a tiger with his bare hands - this volume explores Chinese oral professional storytelling and its relations with literary culture in the past and present.
THE SUNDAY TIMES BESTSELLER 'The book is meant to spread joy, personal acceptance, and most of all understanding. Each of us is living our own private journey, and the more we know about each other, the healthier and happier the world will be.' Growing up gay in a traditional South Asian family in South Yorkshire, Tan France could never have imagined he'd become part of a worldwide phenomenon. One of the few people of colour at his school, he experienced racist bullies, found solace at his grandad's denim factory and eventually discovered his true calling at fashion college. Told with his trademark humour, for the first time Tan reveals the experiences that have made him the witty, compassionate man he is today. From meeting the love of his life Rob (a Mormon cowboy from Salt Lake City) to juggling three demanding businesses, Tan charts the highs and lows on his path to Queer Eye. And of course he can't help but pepper this book with fashion dos and don'ts. Full of candid observations about US and UK cultural differences, celebrity encounters, and behind-the-scenes revelations about Queer Eye, Naturally Tan gives us Tan's unique perspective on the happiness to be found in being yourself.
Four millennials looking for sex, love and a well-located flat find themselves caught in a complex game of rivalry, desire and seduction. As the cost of happiness soars, how can they negotiate the new rules of modern relationships and win the game of love? Games for Lovers is a glittering modern rom-com with a wicked gleam in its eye.
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