Famous Comedy Quotes

Yeah, I love being famous. It's almost like being white, y'know?

Poetry, like jazz, is one of those dazzling diamonds of creative industry that help human beings make sense out of the comedies and tragedies that contextualize our lives.

It'd be great to be so famous that if I murder someone, I will never, ever, ever serve any jail time, even if it's totally obvious to everyone that I did it.

Comedy has to be done en clair. You can’t blunt the edge of wit or the point of satire with obscurity. Try to imagine a famous witty saying that is not immediately clear.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

In 1593, soon after Marlowe’s murder, a troop of English actors brought a production of the Tragical History of Doctor Faustus to Germany. Through some metamorphosis, the tragedy became a comedy, and the comedy was then transformed into a puppet show. It was more than likely in this form that the young Goethe first came upon what would become his most famous work.

Comedy, much of the time, is built on disorder. Comedy is intoxicating to a young mind in distress. You see these famous people pointing out the ridiculousness of a world that you’ve never been able to make sense of. Comedians offer the hope, the chance, however slim, that it’s not you that’s broken but the world. And they dress up in cool clothes! And hang out with various late-night hosts named Jimmy! And they make people laugh, and those people then love them. I can’t say for certain that depression leads people to a career in comedy, but it seems like the path is smoothly paved and well lit. Comedian Solomon Georgio came to the United States as a refugee from Ethiopia when he was three years old, and his family relied on comedy early on for entertainment and education. “We all loved comedy because that’s one of the few things that we comprehended when we didn’t speak the language,” he says. “Surprisingly, standup comedy, too, which, even though we didn’t know what was going on, you kind of see a rhythm and you know people are being entertained and laughing along. So we watched a lot of old television. Three Stooges, I Love Lucy, and, like, slapstick. We just immediately started watching and enjoying. So you can only imagine how disappointed I was when I met my first white person in real life and I was like, ‘Oh, you’re not like the Three Stooges. I can’t slap you and poke you in the eye. You guys aren’t doing any of that stuff out here. Okay.

My mother always says, 'Eighty percent of what you worry about never happens anyway.'...So much of life is a farce, in both meanings of the word. Much of our life is made up of situations one might find in a traditional comedy - misunderstandings, wrong expectations, and odd situations that, in retrospect, seem quite amusing. How much of what happens is just stuff? Of course, there is always that other 20 percent.

I’ll tell you this, if he gives me one more order with that W word again, I’m going to divorce him before we can even finish the wedding.” “The W . . . Okay, Bella, as usual you have lost me. W word?” “Yeah. W, . . . as in Wife. Ugh! He’s always saying or thinking things in this high and mighty way and tacking the word ‘wife’ onto the end like it’s some kind of password that lets him order me around.” Bella noted her friend’s still perplexed expression, so she screwed up her face, attitude, and voice into an uncanny approximation of Jacob. “‘I do not want you hunting in your condition, wife. It is too dangerous for you and the babe to accompany me, wife. I have told Elijah that there are to be no more training lessons until after the birth, and do not argue with me about this, wife, because my mind is set.” Isabella sagged back with a frustrated sigh. “Oy! It’s just so obnoxious and so . . . high-handed! You know the honeymoon is over when you go from ‘my love,’ ‘my little flower,’ and ‘my heart’ and become simply ‘wife.’” Legna smothered the urge to chuckle. Her little friend’s famous sarcasm always tickled her, and it was meant to tickle. Bella had a way of hiding behind her wit and humor. She was stating things that clearly disturbed her, but she mocked them in such a way that anyone who did not know her would treat it as little more than a comedy routine. Legna knew better. “Now, Bella, you know Jacob adores you. He naturally wants to protect you. He literally worships the ground you walk on.” “Ha ha,” Bella said dryly. “Earth Demon. Worship the ground. Cute. Really cute.” “Well, come on now. Seriously. As a Demon of the Earth, Jacob has an affinity with nature.

The best example of this is Dante’s The Divine Comedy, which famously begins: “Midway on our life’s journey, I found myself / In dark woods, the right road lost.”17 One reason these lines have resonated with readers for centuries is that the poet is describing a common human experience: waking up halfway into life only to discover you are lost. Perhaps you wake up one morning questioning whether your life is worth living.

I was thinking about … how disarming is the ability to make people laugh. It’s a gift, mimicry, but it’s not acting; in a way it’s the opposite of acting, which is why comedians are seldom good actors. There’s an element of exaggeration in the imposture; the copy is the original painted with a broad brush and it can be grotesque, even cruel. But no one is offended. People are drawn to the funnyman who can imitate a politician or a famous actor or an ethnic type, especially his own ethnic type.

From Walt: The Grapes of Wrath, Les Misérables, To Kill a Mockingbird, Moby-Dick, The Ox-Bow Incident, A Tale of Two Cities, The Adventures of Huckleberry Finn, The Three Musketeers, Don Quixote (where your nickname came from), The Complete Works of William Shakespeare, and anything by Anton Chekhov. From Henry: Bury My Heart at Wounded Knee, Cheyenne Autumn, War and Peace, The Things They Carried, Catch-22, The Sun Also Rises, The Blessing Way, Beyond Good and Evil, The Teachings of Don Juan, Heart of Darkness, The Human Comedy, The Art of War. From Vic: Justine, Concrete Charlie: The Story of Philadelphia Football Legend Chuck Bednarik, Medea (you’ll love it; it’s got a great ending), The Kama Sutra, Henry and June, The Onion Field, Fear and Loathing in Las Vegas, Zorba the Greek, Madame Bovary, Richie Ashburn’s Phillies Trivia (fuck you, it’s a great book). From Ruby: The Holy Bible (New Testament), The Pilgrim’s Progress, Inferno, Paradise Lost, My Ántonia, The Scarlet Letter, Walden, Poems of Emily Dickinson, My Friend Flicka, Our Town. From Dorothy: The Gastronomical Me, The French Chef Cookbook (you don’t eat, you don’t read), Last Suppers: Famous Final Meals From Death Row, The Bonfire of the Vanities, The Scarlet Pimpernel, Something Fresh, The Sound and the Fury, The Maltese Falcon, Pride and Prejudice, Brides-head Revisited. From Lucian: Thirty Seconds over Tokyo, Band of Brothers, All Quiet on the Western Front, The Virginian, The Basque History of the World (so you can learn about your heritage you illiterate bastard), Hondo, Sackett, The Man Who Shot Liberty Valance, Bobby Fischer: My 60 Memorable Games, The Rise and Fall of the Third Reich, Quartered Safe Out Here. From Ferg: Riders of the Purple Sage, Kiss Me Deadly, Lonesome Dove, White Fang, A River Runs Through It (I saw the movie, but I heard the book was good, too), Kip Carey’s Official Wyoming Fishing Guide (sorry, kid, I couldn’t come up with ten but this ought to do).

Dominating every conversation could be heard the inexhaustible prattle of M. de Charlus, who was talking with His Excellency the Duc de Sidonia, whose acquaintance he had just made. As profession recognizes profession, so, too, does vice. M. de Charlus and M. de Sidonia had each immediately nosed out that of the other, which was, for both, to be, when in company, monologuists, to the extent of being unable to bear any interruption. Having at once adjudged that the malady was without remedy, as a famous sonnet has it,6 they had made a resolve, not to stay silent, but each to speak without concerning himself with what the other would say. This had created that jumble of sound which, in Molière’s comedies, is produced by several people saying different things at one and the same time. The Baron, with his resonant voice, was certain in any case of having the better of it, of drowning out the feeble voice of M. de Sidonia, without discouraging the latter, however, for, whenever M. de Charlus drew breath for a moment, the interval was filled by the susurration of the Spanish grandee, who had imperturbably continued discoursing.

We were working on the idea about dogs’ Internet searches, and first we debated whether the sketch should feature real dogs or Henrietta and Viv in dog costumes (because cast members were always, unfailingly, trying to get more air time, we quickly went with the latter). Then we discussed where it should take place (the computer cluster in a public library, but, even though all this mattered for was the establishing shot, we got stalled on whether that library should be New York’s famous Main Branch building on Fifth Avenue, with the lion statues in front, a generic suburban library in Kansas City, or a generic suburban library in Jacksonville, Florida, which was where Viv was from). Then we really got stalled on the breeds of dogs. Out of loyalty to my stepfather and Sugar, I wanted at least one to be a beagle. Viv said that it would work best if one was really big and one was really little, and Henrietta said she was fine with any big dog except a German Shepherd because she’d been bitten by her neighbor’s German Shepherd in third grade. After forty minutes we’d decided on a St. Bernard and a Chihuahua—I eventually conceded that Chihuahuas were funnier than beagles. We decided to go with the Florida location for the establishing shot because the lions in front of the New York Main Branch could preempt or diminish the appearance of the St. Bernard. Then we’d arrived at the fun part, which was the search terms. With her mouth full of beef kebab, Viv said, “Am I adopted?” With my mouth full of spanakopita, I said, “Am I a good girl?” With her mouth full of falafel, Henrietta said, “Am I five or thirty-five?” “Why is thunder scary?” I said. “Discreet crotch-sniffing techniques,” Henrietta said. “Cheap mani-pedis in my area,” Viv said. “Oh, and cheapest self-driving car.” “Best hamburgers near me,” I said. “What is halitosis,” Henrietta said. “Halitosis what to do,” I said. “Where do humans pee,” Viv said. “Taco Bell Chihuahua male or female,” I said. “Target bull terrier married,” Viv said. “Lassie plastic surgery,” Henrietta said. “Funny cat videos,” I said. “Corgis embarrassing themselves YouTube,” Viv said. “YouTube little dog scares away big dog,” I said. “Doghub two poodles and one corgi,” Henrietta said. “Waxing my tail,” I said. “Is my tail a normal size,” Viv said.

after us … or maybe they’d put their safeties back on, and we’d get to watch a bunch of smiling Titans following like drones? They could get on tiny motorcycles then follow the RV. That’d be funny, wouldn’t it? They’d look like those famous fat twins on their bikes. Alien comedy at its best.” Now Andreus looked angry. He’d been wearing a damp rag on his head since they’d left the RV in one of the few places with overhead cover a few miles back. Piper kept wanting to make babushka jokes, but she couldn’t quite manage. The man

To CBS boss Bill Paley, who had come of age building his radio network to rival NBC, the simple formula to keep up was to transfer his radio stars to TV. The transition worked for America’s most famous newscaster, Edward R. Murrow, who had become famous for broadcasting from London during the Battle of Britain. But two far bigger stars would emerge in a different genre. In the late forties, Lucille Ball had been a star of a CBS radio program known as My Favorite Husband, a situation comedy that chronicled the domestic life and squabbles of an all-American couple.

In November of 1997, the New Jersey–based independent radio station WFMU broadcast a live forty-seven-minute interview with Ronald Thomas Clontle, the author of an upcoming book titled Rock, Rot & Rule. The book, billed as “the ultimate argument settler,” was (theoretically) a listing of almost every musical artist of the past fifty years, with each act designated as “rocking,” “rotting,” or “ruling” (with most of the research conducted in a coffeehouse in Lawrence, Kansas). The interview was, of course, a now semi-famous hoax. The book is not real and “Ronald Thomas Clontle” was actually Jon Wurster, the drummer for indie bands like Superchunk and (later) the Mountain Goats. Rock, Rot & Rule is a signature example of what’s now awkwardly classified as “late-nineties alt comedy,” performed at the highest possible level—the tone is understated, the sensibility is committed and absurd, and the unrehearsed chemistry between Wurster and the program’s host (comedian Tom Scharpling) is otherworldly. The sketch would seem like the ideal comedic offering for the insular audience of WFMU, a self-selecting group of sophisticated music obsessives from the New York metropolitan area. Yet when one relistens to the original Rock, Rot & Rule broadcast, the most salient element is not the comedy. It’s the apoplectic phone calls from random WFMU listeners. The callers do not recognize this interview as a hoax, and they’re definitely not “ironic” or “apathetic.” They display none of the savvy characteristics now associated with nineties culture. Their anger is almost innocent.

For the time being, however, his bent was literary and religious rather than balletic. He loved, and what seventh grader doesn’t, the abstracter foxtrots and more metaphysical twists of a Dostoevsky, a Gide, a Mailer. He longed for the experience of some vivider pain than the mere daily hollowness knotted into his tight young belly, and no weekly stomp-and-holler of group therapy with other jejune eleven-year-olds was going to get him his stripes in the major leagues of suffering, crime, and resurrection. Only a bona-fide crime would do that, and of all the crimes available murder certainly carried the most prestige, as no less an authority than Loretta Couplard was ready to attest, Loretta Couplard being not only the director and co-owner of the Lowen School but the author, as well, of two nationally televised scripts, both about famous murders of the 20th Century. They’d even done a unit in social studies on the topic: A History of Crime in Urban America. The first of Loretta’s murders was a comedy involving Pauline Campbell, R.N., of Ann Arbor, Michigan, circa 1951, whose skull had been smashed by three drunken teenagers. They had meant to knock her unconscious so they could screw her, which was 1951 in a nutshell. The eighteen-year-olds, Bill Morey and Max Pell, got life; Dave Royal (Loretta’s hero) was a year younger and got off with twenty-two years. Her second murder was tragic in tone and consequently inspired more respect, though not among the critics, unfortunately. Possibly because her heroine, also a Pauline (Pauline Wichura), though more interesting and complicated had also been more famous in her own day and ever since. Which made the competition, one best-selling novel and a serious film biography, considerably stiffen Miss Wichura had been a welfare worker in Atlanta, Georgia, very much into environment and the population problem, this being the immediate pre-Regents period when anyone and everyone was legitimately starting to fret. Pauline decided to do something, viz., reduce the population herself and in the fairest way possible. So whenever any of the families she visited produced one child above the three she’d fixed, rather generously, as the upward limit, she found some unobtrusive way of thinning that family back to the preferred maximal size. Between 1989 and 1993 Pauline’s journals (Random House, 1994) record twenty-six murders, plus an additional fourteen failed attempts. In addition she had the highest welfare department record in the U.S. for abortions and sterilizations among the families whom she advised. “Which proves, I think,” Little Mister Kissy Lips had explained one day after school to his friend Jack, “that a murder doesn’t have to be of someone famous to be a form of idealism.” But of course idealism was only half the story: the other half was curiosity. And beyond idealism and curiosity there was probably even another half, the basic childhood need to grow up and kill someone.

I hope she backs down, but my chances are bleak, When I reasonably tell her, “We just went last week!” But she fixes a stare with that world-famous glare, As my fate is confirmed: back to The Husband Chair.

The ghastly mother-in-law is well represented by a little comedy film of 1952: No Room for the Groom, directed by Douglas Sirk, the fine German director more famous for his melodramas that humanely criticize American morals and values.

I never knew anyone who said, “I deserve to be famous.” In Hollywood, that’s every other person you meet! God bless these douchebags.

For many writers the hardest part of writing is the opening line. I wish. I have hundreds of opening lines. I have a file on my laptop dedicated to nothing but opening lines. I have enough opening lines to fill two complete volumes, if only I could find a way of joining them all together. Nor is my problem the famous 'Writer's Block'. Tania always said I suffered the exact opposite, she used to call it 'Writer's Diarrhoea'. No, for me it's the voices. The incessant voices that clamour for my attention, jabbering, making demands. To which ones do I listen? Do I listen to the characters in my comics who all seem to have their own opinion as to how they see my plots unfolding? Or do I listen to the ones that tell me to take all my clothes off in the Bluewater Shopping Centre and sing Bohemian Rhapsody from the upper balcony? In retrospect it seems such a simple choice but at the time I was slightly confused. Or mildly bewildered as I prefer to call it and not the alcohol induced borderline schizophrenic the therapist insisted on labelling me. Such an unfriendly label I feel.

Famous Hypnotist in South Africa- consults Dr. Stef

It’s a Gay Life A young gay man calls home and tells his mother that he has decided to go back into the closet because he has met a wonderful girl and they are going to be married. He tells his mother, a strict Muslim, that he is sure she will be happier because he knows that his gay lifestyle has been very disturbing to her. She responds that she is indeed delighted and asks tentatively, “I suppose it would be too much to hope that she comes from a good family?” He tells her she comes from a rich, famous, and powerful family. His mother admits she’s overwhelmed by the news, and asks, delighted, “What is her name?” He answers, “Tiffany Trump.” There is a pause, then his mother asks, “What happened to that nice boy you were dating last year?

Then there’s that most famous quotation, attributed to 1950s American comic Steve Allen, that “Comedy equals tragedy plus time.

There’s a famous quote about analysing comedy, likening it to dissecting a frog: “Nobody laughs, and the frog dies.” Which is funny, thereby proving the only rule of comedy, which is that there are no rules in comedy.

The Secret on How to Write Comedy In a fashionable context, comedy is a subjective element. Making humans funny is an incredibly difficult job and developing a chunk of comedy is even more difficult. If you are an aspiring comedy writer, there is loads to be found out and Filipino concert in Las Vegas( ticklemecomedy.com) in case you lack that writing skills, there's no way you may produce an excellent comedy piece. So how do you write stuff that is actually funny and will make everyone roll round in laughter? Are there definitely techniques on how to write comedy or steps with a view to decorate your comedic writing? Maybe these are the questions rambling around your thoughts now. Well, happily, there are some easy strategies on for writing humorous cloth. Tips on How to Write Comedy Like all different forms of writing, comedy writing is no one of a kind. It additionally takes exercise to get it right. Some comedic writers might also master the artwork of comedy writing with only a little exercise while a few conflict lots before getting Filipino show in Las Vegas to know it. With that being said, every person who wants to realize the secret to writing high-quality comedy need to consider some easy pointers. Whether you come to be being funny or no longer, the most essential element is which you have discovered how to excellent write comedic cloth and are capable of produce quality comedy pieces. To assist you emerge as a very good comedic writer, beneath are some guidelines. • Choose the type of comedy - One tip on how to write comedic portions is to pick out the type of humor you need to exhibit. There are various forms of comedy along with slapstick, parody, dark humor, edgy humor, own family humor, dry observational humor, and plenty of others. You simply need to select one in your comedy piece and paintings on it. Failure to consciousness on one sort of humor will end result on your audience being careworn. • Use warfare - Another golden rule is to discover the battle in anything and play on the boundaries. Professional comedic writers say that anger is frequently the middle of all comedy. But this doesn't suggest however that you need to be a raging psycho simply so one can realize the way to write comedy. This virtually approach that you got to have the ability to address a conflict in a humorous manner. • Carefully choose your words - Successful comedic playwrights realize nicely the way to maximize the comedic impact. Obviously, they are experts in finding the funniest in everything. Choose phrases that sound funny and discover ways to tweak your paintings to give you actual funny piece. • Know how and whilst to magnify - In comedy, "extra" is generally better. Think approximately conditions that might be funnier if things have been exaggerated a chunk. Something mildly humorous can quickly Las Vegas Filipino shows become hilarious with a little bit of embellishment. • Timing - In comedy, timing is the whole thing. It is a totally critical component in writing comedy. You want to inject the proper joke inside the proper location and in the right time. This is in which your punch traces ought to appear. This also manner understanding whilst to end. But take word that timing depends significantly at the sort of comedy you're pursuing. Practice makes best After being given these few hints on how to write comedy, you need to have a terrific begin composing fine, comedic work. But as the famous adage says "Practice makes best" so preserve to exercise and work at your stuff. You don't always want to be intrinsically humorous to study comedic writing but it'll help.

how shall I put it?—of less than virtuous loves. . . . Gradually this second book took shape in my mind as it had to be. I could tell you almost all of it, without reading the pages that were meant to poison me. Comedy is born from the komai—that is, from the peasant villages—as a joyous celebration after a meal or a feast. Comedy does not tell of famous and powerful men, but of base and ridiculous creatures, though not wicked; and it does not end with the death of the protagonists. It achieves the effect of the ridiculous by showing the defects and vices of ordinary men. Here Aristotle sees the tendency to laughter as a force for good, which can also have an instructive value: through witty riddles and unexpected metaphors, though it tells us things differently from the way they are, as if it were lying, it actually obliges us to examine them more closely, and it makes us say: Ah, this is just how things are, and I didn’t know it. Truth reached by depicting men and the world as worse than they are or than we believe them to be, worse in any case than the epics, the tragedies, lives of the saints have shown them to us. Is that it?

I'm also pretty sure it would disrupt the space-time continuum for a world-famous singer who looks like you to get involved with a TV writer who looks like me.

For decades, I concealed my pain behind laughter and comedy, prioritizing the comfort and safety of others. I understand intimately the toll trauma can take on one’s spirit. No one should endure a life overshadowed by fear, chaos, trauma or neglect.

Me Time Zone It’s okay to be a “me-time mom.” ~Author Unknown The day has ended yet only just begun for I have two lives — one that hides behind the sun You may not see my secret life — the one lurking in the dark, the one that eagerly awaits its time to spark Daytime me puts the other me aside Daytime me doesn’t get to hide Daytime me washes all the clothes Daytime me kisses the injured toes I am a teacher, a maid and a cook I hand out the cuddles and the disconcerting looks I referee the arguments, the teasing and the fights I fasten the helmets to go ride the bikes Nighttime me relaxes in the chair Nighttime me reads books without a care Nighttime me watches comedy shows Nighttime me eats the treats that I chose I sometimes wonder whether I used to be bored when I had just one life and hardly any chores I want to do all the things that I did before but how do I fit them in now there’s so much more? I read books, played piano and swam I cycled and socialised and ran I wrote poetry, played video games and went to bars I knew popular culture and all the famous stars Now my me time has become so small sometimes I feel it’s hardly there at all When the children will not settle but the sun has gone away I throw my arms in the air, for daytime me has to stay. I count to ten and breathe in deep Why oh why won’t they go to sleep? Me time is a ship that has sailed past How could I be so foolish to think that it would last I tuck their hair behind their ears and then I begin to feel the tears Am I crying for my me time? That seems a little mad Surely it’s something else that’s making me sad Crying for my me time does seem a little daft As I leave the children’s room I begin to laugh. I’m trying to put me time into a time slot I precariously balance it on the top. But I realise my me time comes in different forms to be enjoyed even while daytime storms I read a book whilst I make the tea I play ukulele whilst the children dance with me I swim in the sea with the children under my wings I run around the park between pushing them on swings And there are famous stars that I know, even if they come from the children’s favourite show Yes the ultimate me time is when I’m on my own but me time can also be enjoyed when you’re not alone My me time is a state of mind When I’m in the me time zone who knows what I’ll find? — Anneliese Rose Beeson —

There once lived, at a series of temporary addresses across the United States of America, a travelling man of Indian origin, advancing years and retreating mental powers, who, on account of his love for mindless television, had spent far too much of his life in the yellow light of tawdry motel rooms watching an excess of it, and had suffered a peculiar form of brain damage as a result. He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests.

Gandhi is famous as a pacifist who led India to independence from the UK. But, since 1991, he has also gained a reputation as a warmonger leader who launches unprovoked nuclear strikes.

Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

In this watercolor Gavarni portrays an individual whose father was an industrialist and whose older brother was a distinguished professor. From the looks of him, Hippolyte Beauvisage Thomire had a keen eye for fashion in casual clothing, however. He represents the new generation of bourgeois consumers that emerged during the July Monarchy. He is the modern young man off the newly invented fashion plates and out of the cast of Balzac’s Human Comedy. Charles Baudelaire, the great cultural critic of Louis Philippe’s reign in latter years, called the artist Gavarni “the poet of official dandysme." Dandysme, Baudelaire said (in his famous essay “De l’heroisme de la vie moderne” [The heroism of modern life], which appeared in his review of the Salon of 1846), was “a modern thing.” By this he meant that it was a way for bourgeois men to use their clothing as a costume in order to stand out from the respectable, black-coated crowd in an age when aristocratic codes were crumbling and democratic values had not yet fully replaced them. The dandy was not Baudelaire’s “modern hero,” however. “The black suit and the frock coat not only have their political beauty as an expression of general equality,” he wrote, “but also their poetic beauty as an expression of the public mentality.” That is why Baudelaire worshiped ambitious rebels, men who disguised themselves by dressing like everyone else. “For the heroes of the Iliad cannot hold a candle to you, Vautrin, Rastignac, Birotteau [all three were major characters in Balzac’s novels] . . . who did not dare to confess to the public what you went through under the macabre dress coat that all of us wear, or to you Honore de Balzac, the strangest, most romantic, and most poetic among all the characters created by your imagination,” Baudelaire declared.

He devoured morning shows, daytime shows, late-night talk shows, soaps, situation comedies, Lifetime Movies, hospital dramas, police series, vampire and zombie serials, the dramas of housewives from Atlanta, New Jersey, Beverly Hills and New York, the romances and quarrels of hotel-fortune princesses and self-styled shahs, the cavortings of individuals made famous by happy nudities, the fifteen minutes of fame accorded to young persons with large social media followings on account of their plastic-surgery acquisition of a third breast or their post-rib-removal figures that mimicked the impossible shape of the Mattel company’s Barbie doll, or even, more simply, their ability to catch giant carp in picturesque settings while wearing only the tiniest of string bikinis; as well as singing competitions, cooking competitions, competitions for business propositions, competitions for business apprenticeships, competitions between remote-controlled monster vehicles, fashion competitions, competitions for the affections of both bachelors and bachelorettes, baseball games, basketball games, football games, wrestling bouts, kickboxing bouts, extreme sports programming and, of course, beauty contests. (He

Traditions are conditioned reflexes. Throughout Part 2 of this book, you will find suggestions for establishing family traditions that will trigger happy anticipation and leave lasting, cherished memories. Traditions around major holidays and minor holidays. Bedtime, bath-time, and mealtime traditions; sports and pastime traditions; birthday and anniversary traditions; charitable and educational traditions. If your family’s traditions coincide with others’ observances, such as celebrating Thanksgiving, you will still make those traditions unique to your family because of the personal nuances you add. Volunteering at the food bank on Thanksgiving morning, measuring and marking their heights on the door frame in the basement, Grandpa’s artistic carving of the turkey, and their uncle’s famous gravy are the traditions our kids salivated about when they were younger, and still do on their long plane rides home at the end of November each year. (By the way, our dog Lizzy has confirmed Pavlov’s observations; when the carving knife turns on, cue the saliva, tail wagging, and doggy squealing.) But don’t limit your family’s traditions to the big and obvious events like Thanksgiving. Weekly taco nights, family book club and movie nights, pajama walks, ice cream sundaes on Sundays, backyard football during halftime of TV games, pancakes in Mom and Dad’s bed on weekends, leaf fights in the fall, walks to the sledding hill on the season’s first snow, Chinese food on anniversaries, Indian food for big occasions, and balloons hanging from the ceiling around the breakfast table on birthday mornings. Be creative, even silly. Make a secret family noise together when you’re the only ones in the elevator. When you share a secret that “can’t leave this room,” everybody knows to reach up in the air and grab the imaginary tidbit before it can get away. Have a family comedy night or a talent show on each birthday. Make holiday cards from scratch. Celebrate major family events by writing personalized lyrics to an old song and karaoking your new composition together. There are two keys to establishing family traditions: repetition and anticipation. When you find something that brings out excitement and smiles in your kids, keep doing it. Not so often that it becomes mundane, but on a regular and predictable enough basis that it becomes an ingrained part of the family repertoire. And begin talking about the traditional event days ahead of time so by the time it finally happens, your kids are beside themselves with excitement. Anticipation can be as much fun as the tradition itself.

he started writing counterpoint songs for the theater in the same period that he publicly claimed his desire to compose an opera, because in opera two or more characters regularly express conflicting feelings simultaneously, as in the famous quartet from Verdi’s Rigoletto, which Berlin parodied in his first musical comedy, Watch Your Step.

That is often how collaboration works in a Slow Fix. Check your ego at the door, be prepared to share the credit, and let the creative juices start flowing. That was how Monty Python minted some of the most famous sketches in the comedy canon. One member of the troupe, John Cleese, summed up the genesis thus: “The really good idea is always traceable back quite a long way, often to a not very good idea which sparked off another idea that was only slightly better, which somebody else misunderstood in such a way that they then said something which was really rather interesting.

I do not need to hear people tearing into Lisa Lampanelli for liking to have sex only with black men. I’m sad that this is her famous running gag. I’m sad that I now know this. I’m sad that a legitimate rung on the ladder of making it in comedy is writing hateful stuff about total strangers. I don’t know.

Kato and the Fountain of Wrinkles – where wrinkles meet Tinseltown. For famous pug actor Kato Rhyan, acting isn't about fame, it's a part of him buried deep within his soul; and he's not about to let anything stand in his way of becoming the first animal to win an Oscar for Best Actor, even if it means taking on a role that requires a wrinkly dog's worst nightmare -- Botox injections. Dr. Carrington looked as though the wind had been knocked out of her. “Why would anyone ever want to go back to wrinkles?” she stammered. “Well, obviously, we only agreed to do this because of the role. His face needs to be smooth for the fur extensions. But come on, you didn’t really expect him to want to stay wrinkle-free. Honestly, he’s a pug. They’re supposed to be wrinkly.” “I mean, I know it can be done, but no one has ever asked me to do it before. Plus, I have a reputation to uphold. This is Beverly Hills. The last thing I need is the reputation that I can’t keep my wrinkles straight.” Rhys Ella, Kato and the Fountain of Wrinkles, 2014.

It is quite a revelation to discover that the place you wanted to escape to is the exact same place you escaped from. That the prison wasn't the place, but the perspective. And the most peculiar discovery Nora made was that, of all the extremely divergent variations of herself she had experienced, the most radical sense of change happened within the exact same life. The one she began and ended with. This biggest and most profound shift happened not by becoming richer or more successful or more famous or by being amid the glaciers and polar bears of Svalbard. It happened by waking up in the exact same bed, in the same grotty damp apartment with its dilapidated sofa and yucca plant and tiny potted cacti and bookshelves and untried yoga manuals. There was the same electric piano and books. There was the same sad absence of a feline and lack of a job. There was still the same unknowability about her life ahead. And yet, everything was different. And it was different because she no longer felt she was there simply to serve the dreams of other people. She no longer felt like she had to find sole fulfillment as some imaginary perfect daughter or sister or partner or wife or mother or employee or anything other than a human being, orbiting her own purpose, and answerable to herself. And it was different because she was alive, when she had so nearly been dead. And because that had been her choice. A choice to live. Because she had touched the vastness of life and within that vastness she had seen the possibility not only of what she could do, but also feel. There were other scales and other tunes. There was more to her than a flat line of mild to moderate depression, spiced up with occasional flourishes of despair. And that gave her hope, and even the sheer sentimental gratitude of being able to be here, knowing she had the potential to enjoy watching radiant skies and mediocre Ryan Bailey comedies and be happy listening to music and conversation and beat of her own heart. And it was different because, above all other things, that heavy and painful Book of Regrets had been successfully burnt to dust.

The last place I thought I’d find myself on a Sunday afternoon is in the bedroom of a fifteen-year-old girl who seemingly has quite an unhealthy obsession with Harry Styles. There isn’t an inch of wall that isn’t covered with pictures of the famous pop star. Even the tiny cracks where you might see the paint break through are instead plastered with miniature images of his face.

blazingly furious philosophical resignation. In that atmosphere Cook and McWilliams—McWilliams having been one of the very few Irish economists to have predicted the crash—decided that since the only two things you could really do about the current predicament were laugh or cry, why not laugh? And why not, since Kilkenny was already the site of an internationally famous comedy festival, do it in Kilkenny? Hence, Kilkenomics: the world’s first-ever festival of comedy and economics, which is still running as an annual event. Every event at the festival mixes comedians together with economists. The idea behind that was brilliantly simple: what the comedians do is force the economists to stop talking entirely to each other and engage the audience instead. It was extraordinary to see how effective this was; you could see it in the body language of participants onstage.

Scary Wheels is a hilariously dark and thrilling physics-based racing game that combines absurd humor with fast-paced action. Inspired by the internet-famous Happy Wheels, this game delivers a chaotic ride full of danger, destruction, and unexpected surprises. With unique characters, deadly obstacles, and ragdoll physics, Scary Wheels offers an experience that is as funny as it is challenging. The core gameplay revolves around controlling oddball characters on unstable vehicles through increasingly difficult obstacle courses. Whether it’s a grandpa in a motorized wheelchair, a daredevil cyclist, or a businessperson on a segway, each character comes with their own brand of awkward movement and vulnerability. The game encourages trial and error, and part of the fun is seeing just how spectacularly things can go wrong. The physics engine is what makes Scary Wheels so addictive. Characters react to terrain and collisions with exaggerated motion and often hilarious consequences. Limbs can detach, vehicles explode, and players are flung into traps if their timing isn’t perfect. This unpredictability keeps every level exciting and makes every small victory satisfying. One of the most entertaining aspects of the game is its use of dark humor. Although the injuries and deaths are exaggerated and cartoonish, they provide a twisted kind of comedy. Players often find themselves laughing out loud after watching their character fly off a cliff or get squashed by a giant hammer. This lighthearted gore gives Scary Wheels a unique identity among racing games. Level design in Scary Wheels is both creative and punishing. Courses are filled with hazards like spinning blades, spikes, mines, collapsing platforms, and swinging axes. Each level is a puzzle that requires a mix of timing, reflexes, and sometimes pure luck. As you progress, the challenges become more intense, demanding better control and more thoughtful strategies. Despite its chaotic nature, the game features simple controls that make it accessible to players of all ages. You move using the arrow keys or WASD, and balance your character to avoid tipping over or crashing. The simplicity of these controls allows anyone to jump in and enjoy the game within minutes, but true mastery requires practice and patience. Replay value is high in Scary Wheels thanks to its diverse selection of characters and ever-changing obstacle courses. Each character behaves differently, giving players a reason to revisit old levels with new strategies. The unpredictability of physics-based gameplay also means no two runs are ever quite the same. Scary Wheels is a perfect blend of laughter and challenge, offering an entertaining experience for gamers who enjoy over-the-top physics and ridiculous, sometimes gruesome outcomes. Whether you’re trying to beat a level or just seeing how much chaos you can cause, the game guarantees fun with every attempt. For fans of ragdoll physics, outrageous fails, and high-stakes obstacle courses, Scary Wheels is a must-play.

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