Showing results by publisher "Blackstone Audio, Inc." in Performing Arts

When 20-year-old Jay Mohr moved to New York City, he never thought he would land his first real job on Saturday Night Live. But he did - and what followed were two crazy years of trying to keep up with his talented cast mates and get on the air as often as possible. Jay offers an intimate first-person account of the inner workings of Saturday Night Live - the audition, the pitch meetings, and how skits make the final cut of the show. Jay also dishes on the guest hosts, the musical guests, and, of course, his cast mates.

In a major work of scholarship both erudite and very funny, Jeremy Dauber traces the origins of Jewish comedy and its development from Biblical times to the age of Twitter. Organizing his book thematically into what he calls the seven strands of Jewish comedy - including the satirical, the witty, and the vulgar - Dauber explores the ways Jewish comedy has dealt with persecution, assimilation, and diaspora through the ages. He explains the rise and fall of popular comic archetypes such as the Jewish mother, the JAP, and the schlemiel and schlimazel.

To many people, the Marx Brothers always seemed cartoonish. Small wonder that film animators plucked their personas from their first appearances in The Cocoanuts (1929) and Animal Crackers (1930) and caricatured them in countless animated appearances in theatrical cartoons. Their animated likenesses have since been wisecracking in television cartoons, direct-to-video movies, fan films, commercials, flip books, avatars, emoji, a slot machine, and two TV pilots so rare they were once thought not to exist.

When The Flip Wilson Show debuted in 1970, Black faces were still rare on television, Black hosts nonexistent. So how did Clerow “Flip” Wilson go from Jersey City grade-school dropout to national celebrity, heralded on the cover of Time as “TV’s first black superstar”? Flip is a candid, entertaining biography of a consummate comedian who changed the face of American popular culture.

Labor Day, 1969: Two recent college graduates move to New York to edit a new magazine called the National Lampoon. Over the next decade, Henry Beard and Doug Kenney, along with a loose amalgamation of fellow satirists such as Michael O’Donoghue and P. J. O’Rourke, popularized a smart, caustic, ironic brand of humor that has become the dominant voice of American comedy. Ranging from sophisticated political satire to broad raunchy jokes, the National Lampoon introduced iconoclasm to the mainstream, selling millions of copies to an audience both large and devoted.