AN INSTANT NEW YORK TIMES BESTSELLER "Great playwright and filmmaker, DAVID MAMET, just wrote an incredible new book, The Disenlightenment, Politics, Horror, and Entertainment. David is a special man and talent. Get his book, NOW!" -- President Donald Trump One of America's greatest living literary legends invites you think for yourself in this compelling narrative of manipulation, power, and the human condition. "Government, like Circe, turns men into swine," David Mamet writes in his latest political tour de force. Prepare to be challenged, enlightened, and entertained by The Disenlightenment as Mamet dissects the modern world with enthusiasm, wisdom, and lots of references to movies about the mafia. Once a stalwart of liberal thought, Mamet now turns his penetrating gaze on the cultural milieu that nurtured his artistic growth, revealing how America's elites have twisted our institutions into tools of manipulation. With his one-of-a-kind wit, he exposes the intricate dance between power and myth, unmasking how the elites manipulate media and culture to maintain control. The Disenlightenment fearlessly tackles topics from war to love, success to death, offering a fresh perspective on the human condition. His observations, ranging from the carnival-like nature of politics to the power of language, reflect a society where traditional values are under siege. This book is an opportunity to engage with one of the most provocative and insightful writers of the modern era. Whether you're a long-time Mamet aficionado or new to his work, The Disenlightenment promises to challenge your perceptions, stimulate your mind, and perhaps change how you view the world.

"Show Boat" stands as one of the most significant and influential works in the history of American musical theater. Born from the collaboration between legendary composer Jerome Kern, lyricist Oscar Hammerstein II, and novelist Edna Ferber, this masterpiece revolutionized the stage by integrating a serious, complex narrative with a sophisticated musical score. Set against the sweeping backdrop of the Mississippi River from the 1880s through the 1920s, the story follows the lives of the performers, stagehands, and dockworkers aboard the 'Cotton Blossom' floating palace. This powerful drama explores enduring themes of racial prejudice, tragic romance, and the evolving landscape of American society. Through iconic compositions such as "Ol' Man River," "Can't Help Lovin' Dat Man," and "Make Believe," "Show Boat" captures the soul of a nation in transition. The work broke new ground by addressing social injustice and systemic inequality with a depth previously unseen in musical comedy, forever changing the trajectory of the Broadway stage. As a cornerstone of the American canon, "Show Boat" remains a poignant and musically rich exploration of love and hardship along the Great River. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you may see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The Lost Weekend swept the 1945 Academy Awards, with nominations for Best Film Editing, Score, and Black and White Cinematography, and Oscars for Best Picture, Director, Actor, and Screenplay. It also received numerous awards at the Cannes Film Festival and the Golden Globes. Based on the novel by Charles Jackson, a work that many in Hollywood had thought unfilmmable because of its relentless grimness, The Lost Weekend was one of the first films to explore the devastating effects of alcoholism. Ray Milland was cast against type as Don Birnam, a writer plagued by depression and self-doubt who, as his alcoholism progresses, slips into a horrifying downward spiral of lying, begging, stealing, and madness. Milland's riveting performance won him an Oscar. Jane Wyman also delivers a powerful performance as his faithful girlfriend, Helen St. James, whose selfless love offers Birnam a hope of redemption. This facsimile edition of The Lost Weekend not only reveals the genius of the film but also illuminates how the script stands alone as a rare, wonderful piece of writing. Jeffrey Meyers's introduction looks at the transformation from novel to film and examines Wilder and coauthor Charles Brackett's methods as collaborators. Readers will gain important insights into the craft of screenwriting, and the personality and methods of one of Hollywood's greatest directors.

Hilly Kristal originally intended his club to showcase the type of music his venue's notorious letters stand Country, Bluegrass, Blues. Little did he know his club on the Bowery would be the birthplace of a new era of music in New York Punk. While CBGB ultimately didn't describe the music the club was known for, OMFUG (Other Music for Uplifting Gormandizers) still represents what the club provides for all voracious "eaters" of music.CBGB & OMFUG is a musical and cultural landmark, recognized worldwide and visited by countless tourists and music lovers each year. In these luminous pages, CBGB's influence and legacy is honored with 200 photos of some of the most celebrated artists in music history. With an introduction by Hilly Kristal, an afterword by David Byrne, Rock and Roll Hall of Famer and cofounder of Talking Heads, and additional commentary by numerous performers and patrons, CBGB & OMFUG features unforgettable images by the many photographers who documented an American institution.

(Vocal Selections). Fame: The Musical has been dazzling audiences since its debut in 1988. Originally based off the award-winning 1980 movie, then a long-running television series and even a reality show, the musical follows the lives of a group of aspiring entertainers at New York's High School for Performing Arts. Catchy songs and spectacular dance numbers fill the Broadway hit that has now been produced in nearly 25 countries worldwide. All songs include lyrics, melody line, and chord changes with professionally arranged piano accompaniment. Titles: Prologue: Pray I Make P.A. * Hard Work * I Want to Make Magic * There She Goes!/Fame * Let's Play a Love Scene * Mabel's Prayer * Think of Meryl Streep * Dancin' on the Sidewalk * These Are My Children * In L.A. * Let's Play a Love Scene (Duet) * Bring on Tomorrow * Fame.

1. That's What Love Is All About 2. (Sittin' On) The Dock Of The Bay 3. Soul Provider 4. How Am I Supposed To Live Without You 5. How Can We Be Lovers 6. When I'm Back On My Feet Again 7. Georgia On My Mind 8. Time, Love And Tenderness 9. When A Man Loves A Woman 10. Missing You Now 11. Steel Bars 12. Said I Loved You...But I Lied 13. Can I Touch You...There? 14. I Promise You 15. I Found Someone 16. A Love So Beautiful 17. This River

Cult writer, author, podcaster and preeminent “Weird Al” Yankovic historian Nathan Rabin loves the objectively terrible. He's spent the last quarter century celebrating the spectacular garbage that makes life worth living. Rabin began his obsession with the abysmal at the The A.V. Club in 1996, where he worked for eighteen years, primarily as the site’s head writer. Rabin left The A.V. Club in 2013 to become a staff writer for the short-lived but much loved film website The Dissolve before starting Nathan Rabin’s Happy Place in 2017. The Joy of Trash collects the best pieces from the Happy Place alongside 8 new entries on both seasons of Baywatch Nights, Shasta McNasty, Robert Evans’ Get High On Yourself, Adrien Brody’s ad-libbed introduction for Sean Paul on Saturday Night Live, and more. The Flaming Garbage Fire extended edition of The Joy of Trash combines brand new pieces on the notorious Easy Rider sequel Easy Rider: The Ride Back and the infamous Kelsey Grammer vehicle Gary the Rat with classics from the Happy Place archives on everything from a coffee table book celebrating kiddie cigarette pitchman Joe Camel to John Kricfalusi’s reviled “Adult” Spike TV Ren & Stimpy reboot to a lengthy closing essay that uses an ill-fated Blues Brothers convention to explore multi-generational depression, the blues and the author’s complicated feelings about his hometown of Chicago. The Joy of Trash: Flaming Garbage Fire Extended Edition is an even better book about very bad people and very bad entertainment from a true American original. PRAISE FOR The Joy of Trash “Being somewhat of an expert on Nathan Rabin’s entire body of work, I can honestly say that The Joy of Trash is absolutely one of the best non-weird Al rated books he’s ever written. Terrific.” -“Weird Al” Yankovic “This is not a condemnation, it’s a celebration of how, despite the pop-culture garbage we’re forced to wade through every day, we can still rise above it. And make fun of it. In a celebratory way. I think I mixed up my metaphors here.” - Patton Oswalt “Is anyone as adept at insightful dives into the bizarre avenues of pop culture as Nathan Rabin is with ‘The Joy of Trash’!?!” - Andrew Helm, writer of A Talking Cat!?! “Nathan Rabin does not merely poke fun at bad media. He exactingly, methodically lies each of its sins bare with the thrilling precision of Hercule Poriot revealing the true identity of the murderer. Except instead of explaining how some gardener shot poison through a blowgun he’s dismantling Loqueesha to its atomic components. It’s an incredible spectacle.” - Justin McElroy “Nathan Rabin is one of my favorite pop-culture critics and historians. He takes on the good, the bad, and what some might refer to as the “ugly.” To me, it’s all beautiful. Especially the ugly. Like a crab scuttling along this nation’s depths, he collects forgotten, shimmering, neglected objects and reveals them to a most grateful world." - Mike Sacks “I have been reading Nathan since I was a no-name improvisor riding the L Train. Now I am a no-name podcaster driving a station wagon, and STILL reading him. The Joy of Trash was a fast, funny, eye opening read. A dark trip down an awful memory lane. It seems made for me. I mean the dude even covers Steven Seagal’s book!” - Jon Gabrus “Nathan Rabin is one of the funniest pop-culture writers out there. He engages some truly twisted topics with a mix of humor, insight and true curiosity. Please read this fascinating and hilarious book so that his suffering will not be in vain!” - Jordan Morris

Jon Landau, the Academy Award-winning film producer behind Titanic, Avatar, Alita: Battle Angel, Honey, I Shrunk the Kids, and Dick Tracy, knew two things well: how to tell an unforgettable story and how to find solutions. So, when he found himself confronting his fate, a diagnosis of improbable odds, he began to problem solve, ensuring that everything he learned behind the camera would live on after he was gone.In his retrospective and advice-driven memoir, Landau shares behind-the-scenes stories about some of the greatest movies of our time and advice on how to live well while working in a notoriously all-consuming job by centering the things that mattered to him most--his love for his family and his dedication to his friends and creative partners--turning his own story into another blockbuster hit.The Bigger Picture is at once a deeply poignant memoir, a tribute to storytelling in its many forms, and a celebration of a life well lived, told from the third act. Imbued with Landau's trademark compassion, humanity, and humor, the stories he shares and the wisdom he imparts in The Bigger Picture will inspire, delight, and touch the hearts of readers for years to come.

The first musical production to win the Pulitzer Prize (1932). Gershwin's songs include: Wintergreen for President * Love Is Sweeping the Country * The Senator from Minnesota and more.

"A double edition containing the screenplays for the movies HONEY DON'T! and DRIVE-AWAY DYKES. HONEY DON'T! No man can HAVE her . . . No woman can HOLD her . . . And no one better PISS HER OFF! DRIVE-AWAY DYKES Their love can't be named - and can't be stopped! Strap in! Strap on! Dive in! Read on! An F&F double: two Fabers, two authors, two stories – too much! Faber brings you a Honey O’Donahue Mystery PLUS a sizzling story of love on the run." --Publisher's website.

From Nathan Rabin, former staff writer for The A.V. Club and The Dissolve and the author of Weird Al: The Book, You Don't Know Me But You Don't Like Me, and The Weird Accordion to Al, comes The Fractured Mirror, an exhaustively researched exploration of American movies about filmmaking. This loving deep dive chronicles, with humor, wit, and affection, a solid century of cinema about cinema, with illustrations from Felipe Sobreiro ( The Return of the Blues Brothers ) and a foreword from legendary filmmaker Joe Dante ( Gremlins, Matinee ). As an homage to The Golden Turkey Awards, which included a fake movie along with a plethora of real-life stinkers, Rabin got bad movie luminaries like How Did This Get Made's Paul Scheer, Dan McCoy of The Flop House, Andrew Jupin of We Hate Movies and Author/Humorist Mike Sacks to create blurbs for movies that exist only in their imaginations. The Fractured Mirror covers over 500 movies, from internationally beloved classics to notorious flops. It documents Bucky Larson: Born to Be a Star and Burden of Dreams, and everything in between. Movie history has never been so much fun! Praise for The Fractured Mirror "Nathan Rabin doesn't just write about Hollywood, he rewires how you watch it. The Fractured Mirror channels the same brilliance he brought to My Year of Flops and points it straight at showbiz itself. Every chapter left me itching to rewatch movies I'd written off, this time with brand-new eyes."- Paul Scheer "In this sparkling and essential compendium, one of America's all-time greatest cultural critics turns his keen eye and full heart to movies about American filmmaking, and thank goodness. This "casual epic," to paraphrase Rabin on Tarantino, deserves a spot on your shelf between Kael's FOR KEEPS and Peary's CULT MOVIES." - Julie Klausner, " The Fractured Mirror is an absolute feast for movie lovers, especially movie lovers who enjoy movies about making movies. And man, is it comprehensive! Possibly obsessive. But so much fun. Rabin's writing is smart, witty, and lively throughout."- Bill Corbett " The Fractured Mirror is such a fun, engaging read. Nathan's work always has a certifiable uniqueness and introspection that delivers laughs and deeper ways to rethink our views on film and pop culture."- Greg Sestero "Nathan Rabin's "The Fractured Mirror" sent me down a Proustian memory hole, bringing to mind not only how many of these titles our Tenna-Rotor (tm) brought in from distant New York, but of how films about filmmaking planted the absurd dream in my mind that I could someday join that crazy circus, myself. Hats off to Nathan - and to the next generation of filmmakers, his lovingly curated list will inspire!"- Steven E. DeSouza, screenwriter, 48 Hours, Commando, Die Hard

Pages clean and unmarked. Slight wear from time on shelf like you would see on a major chain. Immediate shipping.

The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-Francois Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions. Rosalind Krauss is Professor of Art History at Columbia University and an editor of the journal October.

Really The Blues is the story of a white kid who fell in love with black culture, learning to blow clarinet in the reform schools, brothels and honky-tonks of his youth. Drawn by the revelation of the blues, he followed the music along the jazz avenues of Chicago, New Orleans, and New York, and into the heart of America's soul. Told in the jive lingo of the underground's inner circle, this classic is an unforgettable chronicle of street life, smoky clubs, roadhouse dances, and reefer culture. First published in 1946, Really the Blues was a rousing wake-up call to alienated young whites to explore black culture and the world of jazz, the first music America could call its own. Their spiritual godfather was Mezzrow, jazz cat, bootlegger, and peddler of the finest gauge in Harlem. Above all, Mezz championed the abandon available to those willing to lose their blues. 2009 Edition

The seminal work of Ruth Rubin, a pioneering collector, singer, folklorist, writer, and crusader for the vanishing legacy of the Yiddish world, "Voices of a People" remains the only general introduction to Yiddish folksong. A priceless collection of song texts in Yiddish and English, as well as a selection of tunes Rubin transcribed, this volume brings the Jews' ancient, itinerant culture alive through children's songs, dancing songs, and songs about love and courtship, poverty and work, crime and corruption, immigration, and the dream of a homeland. Rubin's notes and annotations weave each text into the larger story of the Jewish experience. Noted scholar Mark Slobin provides a new foreword that includes a biographical sketch of Rubin and an assessment of her contributions over a lifetime of collecting, absorbing, and disseminating Yiddish folksong.

"I am a symmetrical man, almost to a fault," Frank Sinatra once said. It is a peculiar statement, because Sinatra is precisely asymmetrical. How to reconcile the enchanting crooner and the explosive bully? What to make of the smooth tones of his voice and the rough edges of his persona? To find the true correspondence between the public and the private Sinatra, the artist and the man, is no easy task. John Lahr, drama critic for The New Yorker and one of the finest writers on the performing arts working today, has done just this in The Artist and the Man Lahr traces the trajectory of the "solitary latchkey kid" from Hoboken, New Jersey, into the stratosphere of fame. Sinatra kept company with presidents and mobsters; he kept up the front of a happy family life for as long as he could and then took up with the most desired women in the world--Ava Gardner, Lauren Bacall, Anita Ekberg, Marilyn Monroe, and many, many more. He led a life of manic gregariousness, yet spoke to the romance and loneliness of the "wee small hours of the morning." He desperately needed to exist within the gaze of the audience but at the same time would express aloofness toward his fans, saying he was happiest "when I'm onstage all by myself with an orchestra and nobody to bug me." The Artist and the Man also examines the miracle of Sinatra's return--much of what is marvelous about Sinatra today is that we know who he is at all, so far did he fall in the late forties. Sinatra came back with a vengeance as Angelo Maggio in From Here to Eternity , a heartfelt and brilliantly comic performance that won him an Academy Award. At the same time, he reclaimed control of the recording studio and, with the help of an ingenious arranger named Nelson Riddle, perfected the swinging sound of his mature years. Sinatra then proceeded to build a media empire that has been the standard by which all other stars have measured their success. The artist and the Sinatra epitomized control and he raged uncontrollably, destroying friendships, love affairs, and a plate-glass window or two; he won fans around the world across three generations, created an unparalleled body of recorded work, and almost single-handedly invented the postwar American swagger and "the image," Lahr writes, "of perfect individualism." Sinatra's life and art happen to be extremely well documented in photographs--from Weegee's hilarious pictures of bobby-soxer hysteria at New York's Paramount Theatre to William Read Woodfield's definitive and rare "Chairman of the Board" images. The Artist and the Man collects one hundred of the best photographs ever taken of Sinatra (some never before published)--representing his film work, the special intensity of his recording sessions, and the many swinging nights of this complex and fascinating man.

Joan Collins is one of the most glamorous women in the world and in Joan's Way she reveals the secrets of how to look amazing, whatever your age. In this book she shares many of her life experiences and the methods she has learned to deal with the good and bad things in life over the years. The book includes glamour and how to achieve it, Joan's exercise programme (she is photographed step-by-step working out with daughter Katy), Joan's make-up and skincare secrets, her tips on eating super-healthily, entertaining and assertiveness, and more. Plus relationships, love and sex: Joan talks frankly about 'everyone's favourite subject'.

Love: A Celebration in Art and Literature is a collection of the most eloquent and artistic expressions of romantic love created since ancient times. This lavishly illustrated volume progresses from young love and courtship to passion, commitment, and the celebration of enduring, mature love. Each of the more than 140 literary selections and works of art has been chosen because it explores the affirmative, devotional, and nurturing aspects of love. For this special 20th anniversary edition, the editors have selected a dozen new images and as many new literary excerpts, as well as a revised cover design that puts a fresh face on love. For those in love, in love with love, or in search of love, this book is a moving, beautiful, often surprising cause for reflection, renewal, and rejoicing.

Full Length, Comedy, 7m, 4f, Interiors A philandering dentist keeps his many affairs at bay by claiming to be married with children. When the ruse threatens to catch up with him, he drafts his prickly nurse to pose as his "wife". She blossoms and he finds himself falling in love with the lovely "cactus flower" right under his very nose. "You will find the jokes fast and funny, the situation becoming funnier as the play skips along." - New York Times

"Telling Larry Charles's life story is telling the story of modern American comedy. Over the last 40 years, few comedians have been a part of so many iconic, beloved projects. Larry was one of the original writers and producers on the first five seasons of Seinfeld, directed over 20 episodes each of Curb Your Enthusiasm and Entourage, and served as the showrunner for Mad About You. His film directing credits include Borat, Bruno, and The Dictator, Bill Maher's Religulous, and Bob Dylan's Masked and Anonymous. In Comedy Samurai, Charles pulls back the curtain on the making of his successful projects, offering often sharp, never-before-told anecdotes about Jerry Seinfeld, Sacha Baron Cohen, Bill Maher, Nic Cage, Mel Brooks, Julia Louis-Dreyfuss, and Larry David, among many others. Perfect for fans of Seinfeldia and lovers of comedy in general, Larry promises to offer new insights into and about many of the most beloved shows, films, and actors of all time"--