We Killed: The Rise of Women in American Comedy
| Author | : | |
| Rating | : | 4.96 (506 Votes) |
| Asin | : | 1250037786 |
| Format Type | : | paperback |
| Number of Pages | : | 352 Pages |
| Publish Date | : | 2015-04-27 |
| Language | : | English |
DESCRIPTION:
Do These Jokes Make Me Look Fat? takingadayoff We Killed is like reading a good documentary film. It's organized roughly chronologically, from the 1960s to the present. The emphasis is on stand up comedy and TV. Author Yael Kohen introduces each chapter with a little background, then lets everyone speak for herself. Sometimes it seems as if there are several people in the same room, reminiscing and telling stories. Just as with the documentary film, the filmmaker, or in this case, the writer, is almost invisible to the viewer. Her questions aren't includ. Imagine You are Watching a Documentary Princess Periwinkle Yael Kohen writes, We Killed: The Rise of Women in American Comedy at the time of and in response to Christopher Hitchens’ article in Vanity Fair proclaiming women aren’t funny.“Comedy has always reflected society- its values, taboos, norms. Surely, then, it only makes sense that the rise of women in comedy has run parallel to the rise of women in out society” (5). This is one of several hooks in the introduction, however I lost interest hereafter.Kohen’s introductions to chapte. ggjumpshot said essential history. Author Yael Kohen presents here an easy to access history of comedy, place and personality. It's all here in one place. 'We Killed' takes you behind the scenes of some of our most famous talents and is, quite naturally, hilarious. A great gift idea (for mom, for sis) for the upcoming holidays.
In We Killed, Yael Kohen assembles America's most prominent comediennesalong with the writers, producers, and nightclub owners in their orbitto piece together the rise of women in American comedy. Beginning with the emergence of Phyllis Diller and Joan Rivers in the fifties, and moving forward to the edgy intelligence of Elaine May and Lily Tomlin on to the tough-ass stand-ups who would take SNL by storm, Kohen chronicles the false starts, backslides, and triumphs of female comedians. With a chorus of more th
The chronicle begins with the late, great Phyllis Diller, whom Kohen interviewed before her death, in August. Diller turned her own life into comedy, offering up joke after joke about being housewife to a loutish husband. --Kristine Huntley . From Booklist Kohen’s lively oral history traces female comedians in America during the last six decades, showing how women doggedly fought their way into what was considered a male arena and thrived. While Diller mastered rapid-fire stand-up, Joan Rivers got her start lamenting her single status, and Lily Tomlin created eccentric characters. Filled with recollections from comedians, comedy-club owners, and writers, this remarkable oral history is a must-read for entertainment buffs. Men largely dominated the show until the mid–1990s, when Molly Shannon’s hyperactive Catholic teen, Mary-Catherine Gallagher, became a sensation, paving the way for funny ladies Tina Fey, Amy Poehler, May