Woody’s Last Laugh explores a simmering controversy amid scientists, conservationists, birders and the media: the supposed “extinction” of American ivory-billed woodpecker. Among the first to identify rampant mental errors inside conservation and environmental professions, the book identifies 53 distinct kinds of cognitive blunders, psychological biases, and logical fallacies on both sides of the woodpecker controversy. Few species have ever provoked such social rancor. Why are rumors of its persistence so prevalent, unlike other near or recently extinct animals? Why are we so bad mannered with each other about a mere bird? How is it that we cannot agree even on whether a mere bird is alive or dead? Woody’s Last Laugh uncovers why such mysteries so mess with our heads. By exploring uncharted borders between conservation and mental perception, new ways of evaluating truth and accuracy are opened to everyone. Author Dr. J. Christopher Haney is a biologist, conservation scientist and lifelong birder. For 12 years he was Chief Scientist at Defenders of Wildlife. In 2010, following the Deepwater Horizon oil blowout, the U.S. Fish & Wildlife Service invited him to lead the largest pelagic study of marine birds ever conducted in the Gulf of Mexico. Since 2013 he has been president of Terra Mar Applied Sciences, an independent public-interest conservation research firm which he founded. If there is one lesson Dr. Haney hopes his book delivers, it is to not overvalue our thinking skills. Human reason is fallible, even among scientists and technical experts. To improve our essential relationship with nature, conservation practices will need to devote as much attention to the unbridled thoughts as the unswerving sentiments. Dead or alive, however, the ivory-bill got the last laugh on us all.

"The Last Laugh", as its name suggests, is the last of Perelman's 20 books and shows the humorist at his very best. Includes 17 pieces never before collected and the opening chapters of the author's uncompleted autobiography.

The comedians of the 1950s and 1960s were a totally different breed of relevant, revolutionary performer from any that came before or after, comics whose humor did much more than pry guffaws out of audiences. Gerald Nachman presents the stories of the groundbreaking comedy stars of those years, each one a cultural harbinger: • Mort Sahl, of a new political cynicism • Lenny Bruce, of the sexual, drug, and language revolution • Dick Gregory, of racial unrest • Bill Cosby and Godfrey Cambridge, of racial harmony • Phyllis Diller, of housewifely complaint • Mike Nichols & Elaine May and Woody Allen, of self-analytical angst and a rearrangement of male-female relations • Stan Freberg and Bob Newhart, of encroaching, pervasive pop media manipulation and, in the case of Bob Elliott & Ray Goulding, of the banalities of broadcasting • Mel Brooks, of the Yiddishization of American comedy • Sid Caesar, of a new awareness of the satirical possibilities of television • Joan Rivers, of the obsessive craving for celebrity gossip and of a latent bitchy sensibility • Tom Lehrer, of the inane, hypocritical, mawkishly sentimental nature of hallowed American folkways and, in the case of the Smothers Brothers, of overly revered folk songs and folklore • Steve Allen, of the late-night talk show as a force in American comedy • David Frye and Vaughn Meader, of the merger of showbiz and politics and, along with Will Jordan, of stretching the boundaries of mimicry • Shelley Berman, of a generation of obsessively self-confessional humor • Jonathan Winters and Jean Shepherd, of the daring new free-form improvisational comedy and of a sardonically updated view of Midwestern archetypes • Ernie Kovacs, of surreal visual effects and the unbounded vistas of video Taken together, they made up the faculty of a new school of vigorous, socially aware satire, a vibrant group of voices that reigned from approximately 1953 to 1965. Nachman shines a flashlight into the corners of these comedians’ chaotic and often troubled lives, illuminating their genius as well as their demons, damaged souls, and desperate drive. His exhaustive research and intimate interviews reveal characters that are intriguing and all too human, full of rich stories, confessions, regrets, and traumas. Seriously Funny is at once a dazzling cultural history and a joyous celebration of an extraordinary era in American comedy.

Captain Roland Warvold tells Alexa and Yipes about the adventures he shared with his brother Thomas in Elyon, before the wall went up and divided the world in two.

From the most popular routines and the most ingenious physical shtick to the snappiest wisecracks and the most biting satire of the last century, Make 'Em Laugh illuminates who we are as a nation by exploring what makes us laugh, and why. Authors Laurence Maslon and Michael Kantor draw on countless sources to chronicle the past century of American comedy and the geniuses who created and performed it-melding biography, American history, and a lotta laughs into an exuberant, important book. Each of the six chapters focuses a different style or archetype of comedy, from the slapstick pratfalls of Buster Keaton and Lucille Ball through the wiseguy put-downs of Groucho Marx and Larry David, to the incendiary bombshells of Mae West and Richard Pryor . And at every turn the significance of these comedians-smashing social boundaries, challenging the definition of good taste, speaking the truth to the powerful-is vividly tangible. Make 'Em Laugh is more than a compendium of American comic genius; it is a window onto the way comedy both reflects the world and changes it-one laugh at a time. Starting from the groundbreaking PBS series, the authors have gone deeper into the works and lives of America's great comic artists, with biographical portraits, archival materials, cultural overviews, and rare photos. Brilliantly illustrated, with insights (and jokes) from comedians, writers and producers, along with film, radio, television, and theater historians, Make 'Em Laugh is an indispensible, definitive book about comedy in America.

“I am greatly relieved that the universe is finally explainable. I was beginning to think it was me.”–Woody Allen Here, in his first collection since his three hilarious classics Getting Even, Without Feathers, and Side Effects, Woody Allen has managed to write a book that not only answers the most profound questions of human existence but is the perfect size to place under any short table leg to prevent wobbling. “I awoke Friday, and because the universe is expanding it took me longer than usual to find my robe,” he explains in a piece on physics called “Strung Out.” In other flights of inspirational sanity we are introduced to a cast of characters only Allen could imagine: Jasper Nutmeat, Flanders Mealworm, and the independent film mogul E. Coli Biggs, just to name a few. Whether he is writing about art, sex, food, or crime (“Pugh has been a policeman as far back as he can remember. His father was a notorious bank robber, and the only way Pugh could get to spend time with him was to apprehend him”) he is explosively funny. In “This Nib for Hire,” a Hollywood bigwig comes across an author’s book in a little country store and describes it in a way that aptly captures this magnificent volume: “Actually,” the producer says, “I’d never seen a book remaindered in the kindling section before.”

Psychiatrist Woody Wood, Americas love guru and renowned phobia specialist, persuaded his fiance to wait until their wedding night to consummate their relationship, because unbeknownst to her and the millions who read his syndicated sexual advice column, Woody is still a virgin due to a debilitating performance anxiety. Further complicating matters is the sudden arrival of Woodys 72-year-old- mother, Happy, and her one-legged psychopathic boyfriend who escaped from a locked mental ward and appeared at Woodys doorstep just in time to brew a potpourri of unimaginable trouble for the two love birds. Happys never-ending supply of laxatives, scathing truths, and a mysterious red shoebox wreak havoc on Rudd Waters, the fetching former beauty queen and fiance of Woody, and Woodys three-legged incontinent and neurotic dog, Di. Woodys two million dollar mansion, not big enough for the four of them, becomes even smaller with the addition of Lucky, Happys slutty daughter, Luckys do-nothing husband, Jeep, and Ben, Luckys rotund lawyer friend and married lover. Julian, a promiscuous chef, and Christian, a conflicted and closeted heart surgeon and former lover of Rudd, round out this crazy mix. Told from the point of view of thirteen characters, 911 is a dark comedy based on real people and an incredible chain of real events that ultimately threaten not only Woodys sanity, but his life! Happy, Jewish American Princess and marionette mistress extraordinaire, possesses the uncanny ability to control the destiny of misfits, embroiled in a Gordian knot, in the end unveiling unexpected acumen and cunning talent.