"Recognized as the 'Head Walnut' by Dick Van Dyke and 'the other DVD' [The Dick Van Dyke Show Revisited, 2004] by Carl Reiner ... Van Deusen has been publishing 'The Walnut times', the Dick Van Dyke Show newsletter, since 1995. Besides Van Dyke and Reiner, Van Deusen has done interviews and established relationships with nearly every member of the cast and crew including Mary Tyler Moore, Rose Marie, Larry Mathews, Ann Guilbert, Bill Idelson, director John Rich, music man Earle Hagen, writer/producer Sam Denoff, film editor Bud Molin, and the now deceased Morey Amsterdam and Sheldon Leonard"--Page 183.

This book analyzes the evolution of film and television comedy from the 1930s through the present, defining five distinct periods and discussing the dominant comedic trends of each. Chapters cover the period spanning 1934 to 1942, defined by screwball comedies that offered distraction from the Great Depression; the suspense comedy, reflecting America's darker worldview during World War II; the 1950s battle-of-the-sexes comedy; the shift from the physical, exaggerated comedy of the 1950s to more realistic plotlines; and the new suspense comedy of the 1970s and 1980s, focusing on the popular "dumb cop" or "dumb spy" series along with modern remakes including 2006's The Pink Panther and 2008's Get Smart.

In 1960, Carl Reiner shot the pilot for a comedy series titled "Head of the Family," starring Carl Reiner. The show was about a writer who lived with his family in New Rochelle, New York and commuted to his job in Manhattan, writing on a TV comedy show. "Head of the Family" aired once and the reaction was, in Carl's words, "fair to middling." So Carl had moved on, until Sheldon Leonard came along and convinced him that he could sell it to a network, and they would not fail this time because, "we'll get a better actor to play you." And thus, "The Dick Van Dyke Show" was born.Besides giving all of us out in TV land, including countless aspiring young writers, our first view of how funny stuff happens (it's created by talented writers like Rob Petrie, Sally Rogers and Buddy Sorrell locked in a room with a typewriter, a piano and a couch), Carl, in the year 1960, also struck a blow for feminism by making one-third of the writers' room staff female."Why and When 'The Dick Van Dyke Show' Was Born" is a recounting of behind-the-scenes stories, many of which only Carl could know, about the casting, writing and shooting of "The Dick Van Dyke Show." It includes the real life happenings in the lives of Carl and his family and friends, which inspired many of the episodes, often proving that truth is exactly as strange as fiction - like the episode where Ritchie had to wear a pith helmet to school to ward off a bullying woodpecker, a remedy suggested in real life by the Game Warden to Carl's friends, Millie and Jerry Schoenbaum, when their son Eric was under similar woodpecker attack.

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.

An anthology of writings spanning Simon Reynolds's extraordinary career as a music writer, Bring the Noise weaves together interviews, reviews, essays, and features to create a critical history of the last twenty years of pop culture. Bring the Noise juxtaposes the voices of many of rock and rap's most provocative artists - Morrissey, Public Enemy, Beastie Boys, The Stone Roses, PJ Harvey, Radiohead, The Streets - with Reynolds's own passionate analysis. With all the energy and insight you would expect from the author of Rip It Up And Start Again, Bring the Noise tracks the alternately fraught and fertile relationship between white bohemia and black street music. The selections transmit the immediacy of their moment while offering a running commentary on the broader enduring questions of race and resistance, multiculturalism and division. From grunge to grime, from Madchester to the Dirty South, Bring the Noise chronicles hip hop and alternative rock's competing claims to be the cutting edge of innovation and the voice of opposition in an era of conservative backlash. Alert to both the vivid detail and the big picture, Simon Reynolds has shaped a compelling narrative that cuts across a thrillingly turbulent two-decade period of pop music.

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.

Combining areas of Tokyo, Cairo, London, New York, Rome, Mumbai and Rio de Janeiro, architect Nigel Coates presents Ecstacity. It is a place of cultural clashes and hybrids. where the real and imaginary sit side by side in a kaleidoscope of colour, drawings, maps, photographs and words.

The first in-depth study of underground dance music.

From one of the most interesting and iconic musicians of our time, a piercingly tender, funny, and harrowing account of the path from suburban poverty and alienation to a life of beauty, squalor, and unlikely success out of the NYC club scene of the late '80s and '90s. There were many reasons Moby was never going to make it as a DJ and musician in the New York club scene. This was the New York of Palladium; of Mars, Limelight, and Twilo; of unchecked, drug-fueled hedonism in pumping clubs where dance music was still largely underground, popular chiefly among working-class African Americans and Latinos. And then there was Moby—not just a poor, skinny white kid from Connecticut, but a devout Christian, a vegan, and a teetotaler. He would learn what it was to be spat on, to live on almost nothing. But it was perhaps the last good time for an artist to live on nothing in New York City: the age of AIDS and crack but also of a defiantly festive cultural underworld. Not without drama, he found his way. But success was not uncomplicated; it led to wretched, if in hindsight sometimes hilarious, excess and proved all too fleeting. And so by the end of the decade, Moby contemplated an end in his career and elsewhere in his life, and put that emotion into what he assumed would be his swan song, his good-bye to all that, the album that would in fact be the beginning of an astonishing new phase: the multimillion-selling Play. At once bighearted and remorseless in its excavation of a lost world, Porcelain is both a chronicle of a city and a time and a deeply intimate exploration of finding one’s place during the most gloriously anxious period in life, when you’re on your own, betting on yourself, but have no idea how the story ends, and so you live with the honest dread that you’re one false step from being thrown out on your face. Moby’s voice resonates with honesty, wit, and, above all, an unshakable passion for his music that steered him through some very rough seas. Porcelain is about making it, losing it, loving it, and hating it. It’s about finding your people, your place, thinking you've lost them both, and then, somehow, when you think it’s over, from a place of well-earned despair, creating a masterpiece. As a portrait of the young artist, Porcelain is a masterpiece in its own right, fit for the short shelf of musicians’ memoirs that capture not just a scene but an age, and something timeless about the human condition. Push play.