Free Download , by Yael Kohen

Free Download , by Yael Kohen

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, by Yael Kohen

, by Yael Kohen


, by Yael Kohen


Free Download , by Yael Kohen

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, by Yael Kohen

Product details

File Size: 896 KB

Print Length: 337 pages

Publisher: Sarah Crichton Books; Reprint edition (October 16, 2012)

Publication Date: October 16, 2012

Sold by: Macmillan

Language: English

ASIN: B008PBYVUQ

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Amazon Best Sellers Rank:

#109,699 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

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 chapters are concise, consisting mostly of history with a sprinkle of her own observation.The format of the book is awkward. Each paragraph is an oral account of club proprietors, writers, performers, producers, etc.- the name and profession in bold type followed by their personal story. The problem with this is, the book gave little indication of its format, thus confusing me right out the gate. Another reason this is troublesome is because it doesn’t move the history along. There is an abundance of information embedded in the oral accounts and I learned a great deal, but I felt like I had to hunt for the information. Not everything accounted for needed to be recounted.Kohen’s book is well researched and surely informative. I loved learning how women dealt with sexism in each of their generations, past to present. I learned Phyllis Diller preferred to work gay clubs because they were chic; the audience had higher brow expectations for jokes unlike the vaudeville clubs.I appreciate Kohen creating an inclusive environment in her book- men and women participate in the discussion- this is how feminism is thrives and paradigms begin to shift.Kohen does a wonderful job researching and including so many wonderful people, but I feel there might be a few missing pieces. Chapter Three: Prime Time introduction speaks of the 1970s as the “most prolific decade for women in television” (57). The introduction and statement discredits the early work of women such as Lucille Ball and Donna Reed (creator and producer, respectively). Without them, how could the “most prolific decade for women in television” exist?Overall, Kohen pieced together a scrambled and misogynistic history into a densely rich, accessible perspective. For that, I thank her. This book should be the jumping off point for turning this into a documentary.

Of course this is a book about the women comedians of now and the past, but interestingly, the portraits are painted (for the most part) by other women comedians talking about each other (unfortunately, Sarah Silverman, one of my absolute favorites, declined to participate, which did not prevent others from talking quite a bit ABOUT her).From the earliest television programs (Garry Moore) through Johnny Carson and up to the present, they are all here. What was of interest as well, the author details the rise of comedy clubs, and introduces us to the proprietors - why they succeeded (or didn't ), what the policies are and were, and constructs and history of labelling and, actually, quite a bit of discrimination against these wonderfully talented performers.Read it -- you'll like it !

Just ok...Its interesting to gain the knowledge of what the women comics had to go through to be known by not only the club owners, but the public at large. Problem is , so many of these stories are just too repetitive.

This book is full of first-hand accounts of the history of women in comedy. Stand-up, sketch, improv, and scripted shows are all covered. It's a fun read for anyone interested in show business or, for that matter, in women's places in American society through the years. Older people will remember some of the pioneer work that is celebrated, such as the great routines Elaine May did with Mike Nichols in the 1950's. Younger folks will enjoy learning about the roots of today's favorites - Ellen, Tina Fey, Amy Poehler, etc.

Yes, women comics are featured - and that's great! But if you like the behind-the-scenes look into comedy, it's for all to read.Easy read, in-depth, with actual comedian's feelings and comments about the industry.

A useful tool but not a book to sit down and read. The collected interviews offer information but the book offers little perspective.

It's a great history of women in comedy and I learned a lot from it! It's interesting to hear about women getting into the comedy scene back in the 40's, 50's, and 60's from different sources and notably how much Johnny Carson hated women comics! A good read for the comedy lover.

Fantastic book on the origins of female comedians. Very nicely put together and very easy reading.

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