Taco Night (revised 2011) Short
humor piece on the dangers of reducing educational equity to «celebrating the joys of diversity.»
Below, you'll find categorized suggestions, from the Learning Network staff and from teacher - friends around the country, for great Times essays, articles, Op - Eds and
humor pieces on a range of topics to read aloud to your students — no matter what their ages.
I have posted 352
humor pieces on my 14 month old blog and have not made a penny.
Not exact matches
There are some factors that can increase the potential «virality» of your
piece, such as making it long and detailed, adding elements of
humor and surprise, and giving it an early push
on social media, but it's also a game of timing and pure luck.
There's even a «Luxus» version («for those very special moments in life»), a prime example of Berlin ironic
humor: a whole sausage with a
piece of gold leaf draped over the top, surrounded by a pool of Currywurst sauce
on a white china plate and accompanied by a glass of Sekt (German sparkling wine).
While he doesn't have a lot of barring
on the movie, other than one single
piece, his delivery and injection of dead - panned
humor is priceless.
It would have been a great
piece of
humor, but instead they chose to keep the hateful comedian
on board.
In Carl Matheson «s early aughties
piece on the humour of TVs The Simpsons, he talks about something he calls hyper - irony: «The flavor of
humor offered by today's comedies is colder, based less
on a shared sense of humanity than
on a sense of world - weary cleverer - than - thou - ness.»
Self - reflexive and dosed with macabre
humor, this offbeat exercise in just - around - the - corner horror grounds the largely exhausted found - footage approach in classical storytelling and visual values, resulting in a refreshing (and memorably strange) genre
piece, premised almost entirely
on a child's willingness to accept grown - up weirdness as long as it ensures stability.
It's Héctor who is the source of much of «Coco's»
humor, literally falling to
pieces on several occasions and then awkwardly reassembling his wayward bones with lightning speed.
Director Stoller and writers Andrew J. Cohen and Brendan O'Brien are graduates of the Judd Apatow school of studio
humor, and so are well - versed in cooking up a comedy that adheres to a certain recipe: bookending the picture with big set -
pieces, and then linking those set -
pieces with a series of fast - paced episodes that rely chiefly
on sight gags and as many obscenities as possible.
In the My World of Flops
piece on Rachel Dolezal's fascinatingly, poignantly, hilariously misguided memoir, I wrote about how Dolezal casually mentions that because of her Dickensian upbringing as the abused and overworked progeny of scheming, racist parents she has no sense of
humor.
Together these women, under the direction of Tate Taylor, produce a riveting
piece that unfolds with
humor, tears and a generous helping of sass — thanks mostly to the outspoken Minnie who finds it impossible to follow her own advice about keeping one's mouth shut
on the job.
They rely
on huge set
pieces, when what they needed was a more convincing villain and a better sense of
humor.
From the appearance of the credit «written and directed by Brian De Palma» overlaid
on the sleek outer casing of an Apple MacBook Pro to a shot of a car driving into and destroying a parking - lot Coca - Cola machine, there's a through line of anticorporate
humor that juxtaposes the ideas of «art» and «product» — never more so than in an amazing, extended split - screen scene in which footage of a ballet performance competes for our attention with a knowingly clichéd, Halloween - style slasher -
on - the - loose set
piece.
Where Charles Bernstein's classic, original score for «A Nightmare
on Elm Street» is back for another lullaby here, the composer's «Deadly Friend» hits CD to re-animates a robot - possessed girl next door with equal components creepiness and absurd
humor, with the end title droid chants of «Bee Bee, Bee Bee» certainly one of the nuttiest vocal
pieces heard that decade.
Most of the Bard's penis
humor relied
on now - archaic quirks of pronunciation and vowel - based trickery, as patiently explained by Atlas Obscura in a
piece headlined «You're Missing Shakespeare's Best, Most Sophisticated Boner Jokes.»
There are many
pieces of research that show the use of
humor can exert a positive influence
on a learner.
«It shares the story of how the average modern - day man navigates his way through a massive corporation and comes out
on the other end in one
piece and with his sense of
humor and determination still going strong.»
Patience and a sense of
humor; write this
on a
piece of paper and stick it
on the refrigerator.
The issue also includes a roundup of governmental game development incentives, Front Line Award finalists, a
piece on the art of creating believably flawed characters, and our regular monthly columns
on design, art, music, programming, and
humor.
And as usual, our regular columnists contribute detailed and important
pieces on numerous areas of game development — this issue, we include Bungie's Steve Theodore
on occlusions, Noel Llopis
on data - oriented design, BioWare's Damion Schubert
on lasting appeal, Radical's Rob Bridgett
on stereo downmixing, and Matthew Wasteland with his monthly
humor column.
The
piece is composed of 95 blackboard paintings and incorporates his punditry, which rests
on the grandiose insistence that in
humor lays truth.
On the other hand the raucous
humor of the various projects depicted by Barcelona based artist and activist Leonidas Martin was quite wonderful and contagiously funny although one of the best
pieces was video of a bank occupation, when in a kind of flash mob event, people closed their accounts at a branch of a major bank and a huge crowd of revelers suddenly materialized, eventually even making an initially stunned woman banker burst out laughing.
Both of these are white canvases that are also sculptural objects, and the Cattelan has a sort of
humor to it, but it also references so much art history — propping
pieces by Richard Serra, readymade works by Duchamp; you name it — so there's this very subtle, humorous gesture
on Cattelan's part.
Wilson's graphic fluency and absurdist sense of
humor (one
piece features typewriter keys floating like water lilies, another pairs two gramophone horns blasting particles at each other) recall the 1970s paintings of Philip Guston, whose figural motifs flowed with a prolificacy and naturalness verging
on the speed of thought.
On the occasion of her first solo exhibition, at 106 Green in Greenpoint, Brooklyn, artist Nick Irzyk talked to Campbell about desperate
humor, her early performance
pieces,... read more... «Karin Campbell's grins and grimaces»
Though Dara had long been an acquaintance, I'd previously only seen the work available
on her own website — largely
pieces that documented non-media-based reative activism — and, a few years ago, a
piece at CANADA Gallery that was an irreverent remake of Bruce Nauman's Bouncing in the Corner, featuring enormous breasts as the point of
humor and critique.
Currently fusing fluid sketching and charcoal work styles from his past with spray paint and distress techniques that he has developed over the years, the viewer will notice major differences in genre between the 2009 and 2010 works: while the current
pieces dive into a more figurative and abstract realm, the 2009 series of paintings «With Great Power Comes Great Responsibility» focuses more
on a comic - themed visualization of the all - too - human defects of character, faulty perception, and skewed sense of
humor.
In addition to his scholarly writing, Professor Lubet's
humor and opinion
pieces have appeared frequently
on the op - ed pages of newspapers such as the Chicago Tribune, New York Times, San Francisco Chronicle, Baltimore Sun, Philadelphia Inquirer, Newsday, Los Angeles Times, Washington Post, Dallas Morning News, Atlanta Journal Constitution, Detroit Free Press, and many others, as well as in the online journals Slate and Salon.