There, in a late-night world of sex, drugs, dreams and laughter, they created an artistic community unlike any before or since. It was Comedy Camelot—but it couldn’t last.William Knoedelseder was then a cub reporter covering the burgeoning local comedy scene for the Los Angeles Times. He wrote the first major newspaper profiles of several of the future stars. And he was there when the comedians—who were not paid by the clubs where they performed— tried to change the system and incidentally tore apart their own close-knit community. In I’m Dying Up Here he tells the whole story of that golden age, of the strike that ended it, and of how those days still resonate in the lives of those who were there. As comedy clubs and cable TV began to boom, many would achieve stardom.... but success had its price.

    Raised in his family’s brothels, he grew up an outsider to privilege. He took to the stage, originally, to escape the hard-bitten realities of his childhood, but later came to a reverberating discovery: that by plunging into the depths of his experience, he could make stand-up comedy as exhilarating and harrowing as the life he’d known. He brought that trembling vitality to Hollywood, where his movie career—Blazing Saddles, the buddy comedies with Gene Wilder, Blue Collar—flowed directly out of his spirit of creative improvisation. The major studios considered him dangerous. Audiences felt plugged directly into the socket of life.Becoming Richard Pryor brings the man and his comic genius into focus as never before. Drawing upon a mountain of original research—interviews with family and friends, court transcripts, unpublished journals, screenplay drafts—Scott Saul traces Pryor’s rough journey to the heights of fame: from his heartbreaking childhood, his trials in the Army, and his apprentice days in Greenwich Village to his soul-searching interlude in Berkeley and his ascent in the “New Hollywood” of the 1970s.Becoming Richard Pryor illuminates an entertainer who, by bringing together the spirits of the black freedom movement and the counterculture, forever altered the DNA of American comedy. It reveals that, while Pryor made himself a legend with his own account of his life onstage, the full truth of that life is more bracing still.

    Based on six years of research, Andy's own unpublished, never-before-seen writings, and hundreds of interviews with family members, friends, and colleagues, Lost in the Funhouse takes us through the maze of Kaufman's mind to see, firsthand, the fanciful landscape that was his life. Andy Kaufman was often a mystery even to his closest friends. Remote, aloof, impossible to know, his internal world was a kaleidoscope of characters fighting for time on the outside. He was as much Andy Kaufman as he was Foreign Man (tenk you veddy much), who became the lovably dithering Latka on the hit TV series "Taxi." He was a contradiction, a paradox on every level, an artist in every sense of the word. In Lost in the Funhouse, Bill Zehme sorts through a life of misinformation put forth by a master of deception to uncover the man behind the legend. Magically entertaining, it is a singular biography matched only by its singular subject.

    We start in the 1950s, when comic success meant ridiculing and desexualizing yourself. Joan Rivers and Phyllis Diller emerged as America’s favorite frustrated ladies; the joke was always on them. The Sixties saw the appearance of smart, edgy comediennes (Elaine May, Lily Tomlin), and the women’s movement brought a new wave of radicals: the women of SNL, tough-ass stand-ups, and a more independent breed on TV (Mary Tyler Moore and her sisters). There were battles to fight and preconceptions to shake before we could get to where we finally are: in a world where women (like Tina Fey, or, whether you like them or not, Sarah Silverman and Chelsea Handler) can be smart, attractive, sexually confident—and most of all, flat-out funny.Like all revolutions, it’s suffered false starts and backslides. But it’s been a remarkable trip, as the more than one hundred people interviewed for this riveting oral history make clear. With a chorus of creative voices and often hilarious storytelling, We Killed is essential cultural and social history.

    Based on over 200 original interviews and extensive archival research, Nesteroff's groundbreaking work is a narrative exploration of the way comedians have reflected, shaped, and changed American culture over the past 100 years.Starting with the vaudeville circuit at the turn of the last century, Nesteroff introduces the first stand-up comedian - an emcee who abandoned physical shtick for straight jokes. After the repeal of Prohibition, Mafia-run supper clubs replaced speakeasies, and mobsters replaced vaudeville impresarios as the comedian's primary employer. In the 1950s, the late-night talk show brought stand-up to a wide public, while Lenny Bruce, Mort Sahl, and Jonathan Winters attacked conformity and staged a comedy rebellion in coffeehouses. From comedy's part in the Civil Rights movement and the social upheaval of the late 1960s to the first comedy clubs of the 1970s and the cocaine-fueled comedy boom of the 1980s, The Comedians culminates with a new era of media-driven celebrity in the 21st century.

    Over 15,000 sold! Relive some of the most hilarious moments in television with the SCTV troupe.

    This book and soon-to-be-released private tapes are sure to bring the extent of Bruce's influence into sharp focus. Photo insert.

    It was such a radical idea that almost no one thought it would actually succeed, much less become a force in the worlds of music, television, film, fashion, sports, and even politics. But it did work. MTV became more than anyone had ever imagined.I Want My MTV tells the story of the first decade of MTV, the golden era when MTV's programming was all videos, all the time, and kids watched religiously to see their favorite bands, learn about new music, and have something to talk about at parties. From its start in 1981 with a small cache of videos by mostly unknown British new wave acts to the launch of the reality-television craze with The Real World in 1992, MTV grew into a tastemaker, a career maker, and a mammoth business. Featuring interviews with nearly four hundred artists, directors, VJs, and television and music executives, I Want My MTV is a testament to the channel that changed popular culture forever.

    But Saturday Night Live, launched in 1975 and still thriving today, would change the face of television. It introduced brash new stars with names like Belushi, Radner, Chase, and Murray; trashed taboos that had inhibited TV for decades; and had such an impact on American life, laughter, and politics that even presidents of the United States had to take notice. Now, Pulitzer Prize-winner Tom Shales and bestselling author James Andrew Miller bring together stars, writers, guest hosts, contributors, and craftsmen for the first-ever oral history of Saturday Night Live, from 1974, when it was just an idea, through 2002, when it has long since become an institution. In their own words, dozens of personalities recall the backstage stories, behind-the-scenes gossip, feuds, foibles, drugs, sex, struggles, and calamities, including personal details never before revealed. Shales and Miller have interviewed a galaxy of stars, including Mike Myers, Chris Rock, Bill Murray, Tom Hanks, Adam Sandler, Chevy Chase, Will Ferrell, Dan Aykroyd, Steve Martin, Jon Lovitz, Jane Curtin, Billy Crystal, Martin Short, Dana Carvey, Tina Fey, Jimmy Fallon, Chris Kattan, Julia Louis-Dreyfus, Garrett Morris, Molly Shannon, Damon Wayans, Chris Elliott, Julia Sweeney, Norm Macdonald, and Paul Simon-plus writers like Al Franken, Conan O'Brien, Larry David, Rosie Shuster, Jack Handey, Robert Smigel, Don Novello, and others who got their big breaks as part of the SNL team. The Coneheads, the Blues Brothers, Buck-wheat, Wayne and Garth, Hans and Franz, the Cheerleaders, Todd DiLaMuca and Lisa Loopner, "Cheeseburger cheeseburger," Mango, the Church Lady, Ed Grimley-they're all here. And for every fabulous character on-screen there was an outrageous maverick, misfit, or rebel behind the scenes. Live from New York does what no other book about the show has ever done: It lets the people who were there tell the story in their own words, blunt and loving and uncensored.

    For him, comedy was not a routine; it was a way of life. He could not enter a room unnoticed or let a conversation go without making someone laugh. Fans knew Chris as Saturday Night Live’s sweaty, swaggering, motivational speaker; as the irresistible Chippendales stripper; and as Tommy Callahan, the underdog hero of Tommy Boy. His family knew him as sensitive and passionate, deeply religious, and devoted to bringing laughter into others’ lives. But Chris did not know moderation, either in his boundless generosity toward friends or in the reckless abandon of his drug and alcohol abuse. For ten years, Chris cycled in and out of rehabilitation centers, constantly fighting his insecurities and his fears. Despite three hard-fought years of sobriety, addiction would ultimately take his life at the tragically young age of thirty-three. Fame on SNL and three straight number-one box office hits gave way to a string of embarrassing public appearances, followed by a fatal overdose in December 1997. Here is Chris Farley as remembered by his family, friends, and colleagues—the true story of a man who lived to make us laugh and died as a result. The Chris Farley Show is an evocative and harrowing portrait of a family trapped by addiction, a father forced to bury a son, and a gifted and kindhearted man ultimately torn apart by the demons inside him.

    Too on the nose? Sorry. Let me dial it back.  I’m Mike Birbiglia and I’m a comedian. You may know me from Comedy Central or This American Life or The Bob & Tom Show, but you’ve never seen me like this before. Naked. Wait, that’s the name of another book. Also I’m not naked as there are no pictures in my book. Also, if there were naked pictures of me, you definitely wouldn’t buy it, though you might sneak a copy into the back corner of the bookstore and show it to your friend and laugh. Okay, let’s get off the naked stuff. This is my first book. It’s difficult to describe. It’s a comedic memoir, but I’m only 32 years old so I’d hate for you to think I’m “wrapping it up,” so to speak. But I tell some personal stories. Some REALLY personal stories. Stories that I considered not publishing time and time again, especially when my father said, “Michael, you might want to stay away from the per­sonal stuff.” I said, “Dad, just read the dedication.” (Which I’m telling you to do too.) Some of the stories are about my childhood, some are about girls I made out with when I was thirteen, some are about my parents, and some are, of course, about my bouts with sleepwalking. Bring this book to bed. And sleepwalk with me.

    

    Comic genius Doug Kenney cofounded National Lampoon, cowrote Animal House and Caddyshack, and changed the face of American comedy before mysteriously falling to his death at the age of 33. This is the first-ever biography of Kenney--the heart and soul of National Lampoon—reconstructing the history of that magazine as it redefined American humor, complete with all its brilliant and eccentric characters. Filled with vivid stories from New York, Harvard Yard, Hollywood, and Middle America, this chronicle shares how the magazine spawned a comedy revolution with the radio shows, stage productions, and film projects that launched the careers of John Belushi, Bill Murray, Chevy Chase, and Gilda Radner, while inspiring Saturday Night Live and everything else funny that’s happened since 1970. Based on more than 130 interviews conducted with key players including Chevy Chase, Harold Ramis, P. J. O’Rourke, John Landis, and others and boasting behind-the-scenes stories of how Animal House and Caddyshack were made, this book helps capture the nostalgia, humor, and enduring legacy that Doug Kenney instilled in National Lampoon--America’s greatest humor magazine.

    Here, Stephen Rosenfield lays out a clear plan for achieving success, candidly explaining what works, what doesn’t, and why. Including a 12-item “Successful Comedian’s To-Do List,” Rosenfield states, “Get undeniably good at each of these and you can kiss your day job good-bye. You will be a pro.” The New York Times heralded Stephen Rosenfield as “probably the best known comedy teacher in the country.” His alumni include some of today’s most prominent comedians and comedy writers, such as Lena Dunham, Jim Gaffigan, Eric Slovin, and Jessica Kirson. Rosenfield has directed, coached, and/or written for these and hundreds of other comedians. As a pioneer in the field of teaching comedy, he founded the American Comedy Institute, the premier stand-up comedy school in the United States, in 1989.

    “Whenever I came up with a funny bit, whether it happened on a stage, in a conversation, or working it out on my preferred canvas, the big yellow legal pad, I kept it in one of those old school accordion folders,” Seinfeld writes. “So I have everything I thought was worth saving from forty-five years of hacking away at this for all I was worth.” For this book, Jerry Seinfeld has selected his favorite material, organized decade by decade. In page after hilarious page, one brilliantly crafted observation after another, readers will witness the evolution of one of the great comedians of our time and gain new insights into the thrilling but unforgiving art of writing stand-up comedy.