Miss May Does Not Exist, by Carrie Courogen is the riveting biography of comedian, director, actor and writer Elaine May, one of America’s greatest comic geniuses. May began her career as one-half of the legendary comedy team known as Nichols and May, the duo that revolutionized the comedy sketch. After performing their Broadway smash An Evening with Mike Nichols and Elaine May, Elaine set out on her own. She toiled unsuccessfully on Broadway for a while, but then headed to Hollywood where she became the director of A New Leaf, The Heartbreak Kid, Mikey and Nicky, and the legendary Ishtar. She was hired as a script doctor on countless films like Heaven Can Wait, Reds, Tootsie, and The Birdcage. In 2019, she returned to Broadway where she won the Tony Award for Best Leading Actress in The Waverly Gallery. Besides her considerable talent, May is well known for her reclusiveness. On one of the albums she made with Mike Nichols, her bio is this: “Miss May does not exist.” Until now. Carrie Courogen has uncovered the Elaine May who does exist. Conducting countless interviews, she has filled in the blanks May has forcibly kept blank for years, creating a fascinating portrait of the way women were mistreated and held back in Hollywood. Miss May Does Not Exist is a remarkable love story about a prickly genius who was never easy to work with, not always easy to love and frequently often punished for those things, despite revolutionizing the way we think about comedy, acting, and what a film or play can be.

In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.

What is democracy really? What do we mean when we use the term? And can it ever truly exist?Astra Taylor, hailed as a “New Civil Rights Leader” by the Los Angeles Times, provides surprising answers. There is no shortage of democracy, at least in name, and yet it is in crisis everywhere we look. From a cabal of plutocrats in the White House to gerrymandering and dark-money compaign contributions, it is clear that the principle of government by and for the people is not living up to its promise. The problems lie deeper than any one election cycle. As Astra Taylor demonstrates, real democracy—fully inclusive and completely egalitarian—has in fact never existed. In a tone that is both philosophical and anecdotal, weaving together history, theory, the stories of individuals, and interviews with such leading thinkers as Cornel West and Wendy Brown, Taylor invites us to reexamine the term. Is democracy a means or an end, a process or a set of desired outcomes? What if those outcomes, whatever they may be—peace, prosperity, equality, liberty, an engaged citizenry—can be achieved by non-democratic means? In what areas of life should democratic principles apply? If democracy means rule by the people, what does it mean to rule and who counts as the people? Democracy's inherent paradoxes often go unnamed and unrecognized. Exploring such questions, Democracy May Not Exist offers a better understanding of what is possible, what we want, why democracy is so hard to realize, and why it is worth striving for.

Fun, bright, and playful, Power Pop is a sometimes adored, sometimes maligned, often misunderstood genre of music. From its heyday in the 70s and 80s to its resurgence in the 90s and 00s, Power Pop has meant many things to many people. In Go All The Way, today's best and brightest writers go deep on what certain Power Pop bands and songs mean and have meant to them. Whether they love or hate it, Go All The Way is a dive into the Beatles-inspired pop rock of the last five decades.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 Writing a book is not a democratic process, but it is not a solitary one either. It is the result of the combined efforts of many people, from my agent to the people I interviewed for the film. #2 I owe a huge thank you to the Baffler, where I first tested out and published some of the material that made it into this book. I never doubt Riva Hocherman’s judgment, and I have benefited enormously from her erudition, skill, and impressive grasp of how books work. #3 I am extremely grateful to the people who helped me wrangle the manuscript into shape outside of official editing channels. My parents, siblings, and extended family are my anchor and inspiration. #4 Democracy is a word that is all around us, used in many different contexts. It is invoked in government, business, technology, education, and media. Yet, its meaning is rarely considered.

In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era's most innovative and artistically successful releases.With contributions from leading film scholars, this book provides a revisionist account of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing - a necessary element of the re-evaluation of 'Hollywood' with which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.

“A sensitive and vivid study of early female stand-ups… [Levy is a] painstaking, knowledgeable guide.” —New York Times Book Review A hilarious and moving account of the trailblazing women of stand-up comedy who broke down walls so they could stand before the mic—perfect for fans of The Marvelous Mrs. Maisel and Hacks Today, women are ascendant in stand-up comedy, even preeminent. They make headlines, fill arenas, spawn blockbuster movies. But before Amy Schumer slayed, Tiffany Haddish killed, and Ali Wong drew roars, the very idea of a female comedian seemed, to most of America, like a punch line. And it took a special sort of woman—indeed, a parade of them—to break and remake the mold. In on the Joke is the story of a group of unforgettable women who knocked down the doors of stand-up comedy so other women could get a shot. It spans decades, from Moms Mabley’s rise in Black vaudeville between the world wars, to the roadhouse ribaldry of Belle Barth and Rusty Warren in the 1950s and '60s, to Elaine May's co-invention of improv comedy, to Joan Rivers's and Phyllis Diller’s ferocious ascent to mainstream stardom. These women refused to be defined by type and tradition, facing down indifference, puzzlement, nay-saying, and unvarnished hostility. They were discouraged by agents, managers, audiences, critics, fellow performers—even their families. And yet they persevered against the tired notion that women couldn’t be funny, making space not only for themselves, but for the women who followed them. Meticulously researched and irresistibly drawn, Shawn Levy's group portrait forms a new pantheon of comedy excellence. In on the Joke shows how women broke into the boys’ club, offered new ideas of womanhood, and had some laughs along the way.