Jokes and humor from Mexico! Invaluable for the Spanish student, expatriate looking to blend in, businessmen... and anybody who likes a good laugh. All humor in both Spanish and English, with pronunciation guide and study tips as you chucle your way through. There's no better way to be part of a country than to be laughing at its humor--and here's a collection of classics.

An early 20th century American journalist's articles on Mexico before the Revolution.

Why was Cantinflas, actor Mario Moreno's film persona, the most popular movie star in Mexican history? Was it because every Mexican - rich or poor, Creole or Indian, man or woman, young or old - could identify with him?

This book addresses a variety of regional humor traditions such as exploitation cinema, Brazilian chanchada, the Cantinflas heritage, the comedy of manners and light sexuality, iconic figures and characters, as well as a variety of humor registers evident in different Latin American films.

Bill Daugherty has been collecting and telling jokes and humorous stories for many years. He does this, not for profit, but for the sheer enjoyment he receives from making people laugh. With stories such as these, he has entertained his Rotary Club, local and National Audubon Societies, literary group meetings, humorous roast, and members of his weekly bridge games. Bills occupation has not been entertainment. Rather, he has post graduate degrees in Physics and Education, and before retiring, was an Aerospace Engineering Manager at Hughes Aircraft Company, Space Technology Laboratories, and TRW Systems. He has written two WWII novels about the air war in the South Pacific, Black Cats, and Nightmares. He published a monolog on education, Public School Education Destroyed by Educators, and an engineering text he co authored, Mechanical Engineering for Electrical Engineers. His OP-ED pieces have appeared in major newspapers. Bill firmly believes that laughter is sorely missing in our world, and jokes about mature subjects are especially entertaining. To find out of this Not our typical joke book youll have to read it.

A GRIPPING, FEARLESS EXPLORATION OF MASCULINITY The effects of traditionally defined masculinity have become one of the most prevalent social issues of our time. In this engaging and provocative new book, beloved actor, director, and social activist Justin Baldoni reflects on his own struggles with masculinity. With insight and honesty, he explores a range of difficult, sometimes uncomfortable topics including strength and vulnerability, relationships and marriage, body image, sex and sexuality, racial justice, gender equality, and fatherhood. Writing from experience, Justin invites us to move beyond the scripts we’ve learned since childhood and the roles we are expected to play. He challenges men to be brave enough to be vulnerable, to be strong enough to be sensitive, to be confident enough to listen. Encouraging men to dig deep within themselves, Justin helps us reimagine what it means to be man enough and in the process what it means to be human.

Several biographies of Américo Paredes have been published over the last decade, yet they generally overlook the paradoxical nature of his life’s work. Embarking on an in-depth, critical exploration of the significant body of work produced by Paredes, José E. Limón (one of Paredes’s students and now himself one of the world’s leading scholars in Mexican American studies) puts the spotlight on Paredes as a scholar/citizen who bridged multiple arenas of Mexican American cultural life during a time of intense social change and cultural renaissance. Serving as a counterpoint to hagiographic commentaries, Américo Paredes challenges and corrects prevailing readings by contemporary critics of Paredes’s Asian period and of such works as the novel George Washington Gómez, illuminating new facets in Paredes’s role as a folklorist and public intellectual. Limón also explores how the field of cultural studies has drifted away from folklore, or “the poetics of everyday life,” while he examines the traits of Mexican American expressive culture. He also investigates the scholarly paradigm of ethnography itself, a stimulating inquiry that enhances readings of Paredes’s best-known study, “With His Pistol in His Hand,” and other works. Underscoring Paredes’s place in folklore and Mexican American literary production, the book questions the shifting reception of Paredes throughout his academic career, ultimately providing a deep hermeneutics of widely varied work. Offering new conceptions, interpretations, and perspectives, Américo Paredes gives this pivotal literary figure and his legacy the critical analysis they deserve.