Sublime
An inspiration engine for ideas
Edgar Winter—almost without question—is the most successful albino “keytar” enthusiast of the late 20th century. He had a lot to be happy about. “Slow Ride” opens
Chuck Klosterman • Killing Yourself to Live: 85% of a True Story
audacity was only part of what Perelman was talking about. He was also talking about courage. Humor is the most perilous of writing forms, full of risk; to make a vocation of brightening the reader’s day is an act of continuing gallantry. He was also talking about energy. Energy is the divine spark in creative work. We know right away when we are i
... See moreWilliam Zinsser • Writing to Learn: How to Write - and Think - Clearly About Any Subject at All
In all stories, we take care of our audience by ensuring that they are not repulsed, offended, or disgusted by what we are saying.
Dan Kennedy • Storyworthy: Engage, Teach, Persuade, and Change Your Life through the Power of Storytelling
Thelonious Monk playing “Honeysuckle Rose”.
Haruki Murakami • Norwegian Wood
Thus we alter the question. Instead of asking what makes some information funny, we ask: What is it that determines whether or not a receiver experiences information as funny? And here’s where it gets fun: the experience of information as “funny” is a choice made by the receiver.
Dan O'Shannon • What Are You Laughing At?: A Comprehensive Guide to the Comedic Event
The desperate Unabomber-esque screeds that Chuck Lorre slaps on the end of his shows.
Tom Scharpling • It Never Ends: A Memoir with Nice Memories!
Impressions on the standup comics and crowds in Midtown for the East Village.
Midtown: Long-Island like, sports and sex jokes, louder, more stereotypically New York, Mitch Hedburg, played into racial stereotypes, comfortable, comedy as a hobby, beer culture.
East Village: nuanced, less obvious punchlines, more believable personal stories, drug/marij
How to Write Comedy: The Danny Simon Notes (Short Subjects With Big Impact)
amazon.com
Most forms of humor attempt to raise or lower status of individuals via game-like structures, with defined roles and a structurally predictable script (the surprise comes from the content). There is always a jokester, a victim (which can be the same person by design or accident) and crucially, an audience. The victim may or may not be present. So t
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