1 According to a recent poll, 84 percent of American men believe they are funnier than the average stand-up comic, and that if they ever got up behind a mike they’d bring down the house.
2 I just made up that poll, but literal truth is inessential to being a stand-up comic, which I now am. I became a stand-up comic at 12:45 yesterday afternoon when I walked onto a comedy club stage and did a “bit.” It was an audition in which professional and semi-pro comedians had exactly two minutes each to perform for a big- shot producer.
3 During my two minutes, I learned many things about the craft of comedy, the main ones being:
• Two minutes is a very, very, excruciatingly long time.
• You should always remember not to inhale beads covered with spit, because you can die.
4 But I am getting ahead of myself.
5 I am not a comic, have never appeared onstage, am awkward before a mike, have no spontaneity, and basically no interpersonal skills. But I have written some funny things in the newspapers, and I figured that if you can write funny, you can be funny. That was my first mistake.
6 My second mistake was not staying in my seat when my name was called. Good stand-up comics hone their acts over months if not years, polishing them before bathroom mirrors, their friends, etc. I developed the key element of mine the morning I went on. The last thing I did before I left the house was bring a box full of plastic beads, because I figured they could be a prop for something.
Adapted from The Washington Post
I For the first few seconds of my two minutes, I was simply staring forward, mouth agape, expressing the concept: “Uuungh.”
8 Finally:
9 “This is the debut of my career as a professional stand-up comic. It’s a kind of a special moment for me. I’d like to take this opportunity to say something to my mother, who was an inspiration to me throughout my life. My mother passed away a few years ago, but I feel she is still with me. All the time, wherever I go, I feel her presence. Day in and day out. So I would like to say this to her. LEAVE ME ALONE, MA!”
10 Some people actually laughed.
II Then I said, “Anyway, this really is my first time onstage, and I’m pretty insecure because, y’know, I’m not all that funny and I have a really lousy stage presence ..
12 People were laughing. Yes, I realize they were mostly laughing about how bad I was.
13 “But I’ve been working on the problem. A long time ago a Greek guy named Demosthenes had the same problem I have, and he became a great orator by sticking pebbles in his mouth, so I thought I would (and here I began putting the beads in my mouth) try that. See, the idea is that if you can talk through the pebbles (now I was stuffing them in by the handful) you can learn to ...”
14 More laughter.
15 “. . . talk better and wfnm fmuff frmphm grphnm fprm ..
16 I looked at my watch, said something that might have sounded like “My time is up,” and left to somewhat spirited applause. What the audience did not know was that I was quietly choking on a slippery bead.
Thinking about
personal
experience
Skimming
Look at the picture on the opposite page. What do you think the comic is doing? Do you think this is funny?
Skim the text to find out what the writer did during his comedy act. Then read the whole text.
Recognizing
tone
—
A
What is the tone of the text? Check (^) the correct answer.
1. frightened 3. serious
_ 2. funny _ 4. upset
Guessing meaning from context
B
1. big-shot (par. 2)
2. excruciatingly (par. 3)
3. awkward, (par. 5)
4. hone (par. 6)
5. agape (par. 7)
6. spirited (par. 16)
a. lively
b. make perfect
c. oversize
d. painfully
e. important
£ uncomfortable g. open wide
Understanding
details
1. Isn’t he the guy who writes a funny newspaper column?
2. We saw that guy onstage here a couple of months ago.
3. He seemed really nervous, didn’t he?
4. Wasn’t that a stupid song he sang?
5. Why did he talk with those things in his mouth?
6. Everyone was rolling in the aisles!
Relating reading to personal experience
1. If vou were a friend of the writer, what would you have told him about
his
performance?
2. Do men and women make equally good comedians:' Do they tell jokes about the same things? What examples can you give?
3. If you were going to perform stand-up comedy, what would your act be about?
READING 2
1 How serious can we be about humor in the workplace, and how humorous can we be about the seriousness we often find there?
According to a survey, only 15 percent of workers are fired because of lack of competence. The remaining 85 percent are let go because of their inability to get along with fellow employees.
When asked about the qualities of an effective employee, human relations personnel say humor is a choice attribute.
2 Why has humor become a recognized asset in the workplace?
Humor facilitates communication, builds relationships, reduces stress, provides perspective, and promotes attendance and energy.
Humor Facilitates communication
3 Humor provides a non-threatening way for an employee or employer to communicate without causing emotional strain on the relationship. Consider the frazzled secretary who posts the sign "I have only two speeds. If this one isn't fast enough, you're not going to like my other one." Or the somewhat scattered boss whose messy desk has the sign, "A Creative Mess is Better than Tidy Idleness." The message is clear, yet the communication is done in a light and, therefore, less stressful way. The secretary's sign pokes fun at the situation, and the boss's note pokes fun at himself.
Humor builds relationships
4 Humor can facilitate staff cohesion and a sense of team effort in the workplace. Bulletin boards, electronic mail, intra-office memos, and voicemail are all mediums through which we can share humor with co-workers. Office jokes that take the seriousness of work lightly give us the opportunity to become more connected with others.
Humor reduces stress
5 Work is often associated with stress, and stress is one of the main causes of illness, absenteeism, and employee burnout. Humor helps relieve stress because it makes us feel good, and we can't feel good and feel stressed simultaneously. At the moment we experience humor, feelings like depression, anger, and anxiety dissolve. When we laugh we feel physically better, and after laughter we feel happier and more relaxed.
In addition, humor helps reduce psychological stress.
Humor provides perspective
6 Humor also oils the wheels of the workplace by providing perspective. Ashleigh Brilliant (known for his one-liners on postcards) says, "Distance doesn't really make you any smaller, but it does make you part of a bigger picture." Consider the Ziggy cartoon where Ziggy is lying on the psychiatrist's couch and the psychiatrist is saying, "The whole world isn't against you . . . there are BILLIONS of people who don't care one way or the other."
Humor promotes attention and energy
7 Humor wakes us up and increases our attention. An office bulletin board full of cartoons, one-liners, jokes, and funny pictures is one way to invite humor into the workplace. A few moments of humor at work can lead to increased productivity as the newly energized employee returns to his or her task.
8 In working environments where humor is supported, a culture develops that uses humor to reduce stress and provide perspective. Learning to laugh at ourselves and our work lightens the load.
Adapted from www.humormatters.com/articles/workplace/htrn.
124
r iH
Sometimes you can guess the meaning of a word in a series by looking at words around it. For example, from the phrase cartoons, one- liners, jokes, and funny pictures (par. 7), you can guess that a one-liner is something funny.
Relating to the topic
Scanning
Understanding main ideas
Recognizing similarity in meaning
Restating
Relating reading to personal experience
B
Mark each statement true ( T) or false ( F ).
-- 1. It’s a bad idea to use humor with your coworkers.
2. People who work together feel closer if they share jokes.
- 3. Laughter causes physical and psychological problems.
- 4. Humor helps people see their problems as less important.
Scan the text to check your answers. Then read the whole text.
Check (✓) the statement that you think best expresses the main idea of the text.
1. People who take humor seriously are more effective employees.
2. Humor makes work less stressful, more cohesive, and more productive.
3. People who have a sense of humor get along better with their coworkers.
fired, (par. 1)
2. personnel (par. 1)
3. attribute (par. 1)
4. facilitates (par. 2)
5. frazzled (par. 3)
6. relieve (par. 5)
a. staffs par. 4)
b. asset (par. 2)
c. let go (par. 1)
d. stressed (par. 5)
e. promotes (par. 2)
f. reduce (par. 5)
S
1. Human relations personnel say humor is a choice attribute.
Human relations personnel think a sense of humor is important.
2. Humor provides a non-threatening way for an employee to communicate. Employees are not threatened by jokes about themselves.
3. Humor oils the wheels of the workplace by providing perspective.
Humor gives you a different viewpoint, which makes things easier at work.
4. At the moment we experience humor, feelings like depression dissolve. Whenever we laugh, we feel happier.
5. A few moments of humor at work can lead to increased productivity. Employees with a sense of humor usually work harder.
1. Do you think a sense of humor can help you succeed at work? Why or why not?
2. In what other places is a sense of humor helpful?
3. How can you make your workplace or classroom more fun?
READING 3
Jerry Seinfeld
1 My friends just had a baby. There is so much pressure to see this baby. Every time I talk to them, they say, “You have got to see the baby. When are you coming over to see the baby? See the baby. See the baby.”
2 Nobody ever wants you to come over and see their grandfather. “You gotta see him. He’s sooo cute. A hundred and sixty-eight pounds, four ounces. I love when they’re this age. He’s a thousand months. You know the mid-eighties is such a good time for grandpeople. You’ve got to see him."
What’s tough about seeing people when they have a new baby is that you have to try and match their level of enthusiasm. They’re always so excited. “What do you think of him? What do you think?”
4 Just once I would like to meet a couple that goes, “You know, we’re not that happy with him, frankly. I think we really made a big mistake. We should’ve gotten an aquarium. You want him? We’ve really had enough.”
Bill Cosby
1 We parents so often blow the business of raising kids, but not because we violate any philosophy of child raising. I doubt there can be a philosophy about something so difficult, something so downright mystical, as raising kids. A baseball manager has learned a lot about his job from having played the game, but a parent has not learned a thing from having once been a child. What can you learn about a business in which the child’s favorite response is “I don’t know”?
2 A father enters his son’s room and sees that the boy is missing his hair. “What happened to your head?” the father says, beholding his skin-headed
son. “Did you get a haircut?”
4 “I don’t know,” the boy replies.
5 “You don’t know if you got a haircut? Well, tell me this: Was your head with you all day?”
6 “I don’t know,” says the boy.
Ray Romano
1 My first encounter with a two-year-old came after I had gotten married and become an uncle to my wife’s nephew.
Until that day I wasn’t really that informed about the two-year-old. Oh, I’d read about them, and occasionally I’d see documentaries on the Discovery Channel showing two-year-olds in the wild, where they belong.
But my new nephew was the first one I had seen up close. And let me tell you: If you’re ever out on a safari and come across one like this, stay in the Jeep.
4 My wife hates when I start talking about him like this.
5 “He’s your nephew. You should love him.”
6 I’m not saying I don’t love him. I just don’t want him in my house.
Why can’t I love him from afar? That’s how I want to love him — through pictures and folklore.
Adapted from SeinLanguage, Fatherhood, and Everything and a Kite.
Predicting
A punch line is the last part of a joke or story that makes it funny. Read the following
punch lines from three comedians. Then answer the question in the box.
1. Just once I would like to meet a couple that goes, “You know, we re not that happy with him, frankly. I think we really made a big mistake. We should’ve gotten an aquarium. You want him? We’ve really had enough.”
2. “You don’t know if you got a haircut? Well, tell me this: Was your head with you all day?” “I don’t know,” says the boy.
3. Why can’t I love him from afar? That’s how I want to love him - through pictures and folklore.
What subject do you think all three anecdotes have in common?
Scanning
Scan the text to check your prediction. Then read the whole text.
Understanding main ideas
How would the comedians summarize their complaints? Complete the sentences.
1. Jerry Seinfeld would say to his frien ds ,
“I don’t want to see your baby t”
2. Bill Cosby would say to his _,
“I don’t want you to say ‘__T
3. Ray Romano would say to his _,
“I don’t want our nephew _!”
Making
inferences
Relating reading to personal experience
B
1. What does Seinfeld claim parents say about their babies?
a. how much they weigh
b. how hard it is to take care of them
c. what they have learned to do
2. Why does Cosby think parents have problems raising kids?
a. They have the wrong philosophy.
b. They’ve forgotten their own childhood.
c. Raising children is not easy.
3. Why was Romano surprised when he first met his two-year-old nephew?
a. The only two-year-olds he had seen were on TV programs about animals.
b. He didn’t know anything about two-year-old children.
c. His nephew was different from other two-year-olds he knew.
Answer these questions.
1. Which anecdote did you think was the funniest? Why?
2. Do you think the subject is humorous? Why or why not?
3. Have you ever watched any of the comedians in the reading perform comedy? If so, did you think they were funny? Why or why not?
WRAP-UP
A Write each idiom in the box next to the correct meaning.
be in hysterics have someone in stitches almost die laughing
stop oneself from laughing laugh out loud laugh your head off
burst out laughing crack people up roar with laughter
1. not laugh ___
2. begin laughing ....._..
3. laugh a lot ______,_
4. make someone laugh
B
Complete each dialog with an idiom from exercise A. Be sure to use the correct word form. (Note: In some cases, more than one answer is possible.)
1. A: How was the movie?
B: It was really funny. All of the people in the audience were laughing their heads off .|__.
2. A: What are you laughing about?
B: My favorite stand-up comic was on TV. He always me
3. A: I’m so embarrassed!
B: Why? What happened?
A: I went onstage to give a speech, and I dropped all my notes. Everybody
4. A: My new coworker is really funny.
B: In what way?
A: Whenever he tells a joke, everybody_; even the most serious
person can’t_.
Tell your classmates a joke. Then vote for the funniest joke as a class. Discuss why you found the joke funny.
128
Unit 16« Humor
Matt Collins 2, 44,54
Ray Alma William Waitzman David Rolfe Dan Vasconcellos
4, 36, 62, 82 50, 68, 94, 98,101 6, 38
66, 92,110,122
10 (top) Getty; (middle, bottom) FoodPix 14 Roger Wood/Corbis 18 Spencer Grant/Photo Edit 20 Jon Freeman/Getty Images 22 Bettmann/Corbis 26 (both) Getty Images
28 (left to right) Steve Azzara/Corbis Sygma; Haruyosi Yamaguchi/Corbis Sygma 30 AP/Wide World Photo 42 Walter Smith/Corbis 46 David Young-Wolff/Photo Edit 52 Veer
58 Spencer Grant/Photo Edit 60 Creatas
74 Lawrence Schwartzwald/Corbis Sygma 76 David Koskas/Corbis Sygma 78 Karen Thomas/Stock, Boston Inc./Picture Quest 84 R.P. Kingston/Index Stock 86 Farrell Grehan/Corbis 90 Julia Waterlow; Eye Ubiquitous/Corbis 100 Pat Doyle/Corbis 102 Creatas
106 AP/Wide World Photo 108 Paul A. Souders/Corbis
116 Courtesy of Renzo Piano
117 (left to right) Courtesy of Renzo Piano; Courtesy of Kendrick Bangs Kellogg; Courtesy of Bart Prince; Courtesy of Douglas Cardinal
118 Tim Boyle/Getty Images 124 Getty Images
126 (top to bottom) David Turnley/Corbis; Bettmann/Corbis; Steve Azzara/Corbis
The authors and publishers are grateful for permission to reprint the following items:
2 Excerpts from GRINGA LATINA by Gabriella de Ferrari. Copyright © 1995 by Gabriella de Ferrari. Reprinted by permission of Houghton Mifflin Company. All rights reserved.
4 Adapted from “Lucky hats and other fishing superstitions,” by Tommy Braswell, The Post and Courier, November 25, 2001, page 11C.
6 Adapted from “A Superstition About New Calendars Turns Out to Be a Hang-up,” by Raymond Rawlinson, The Washington Post,
December 31, 2001, page CIO. Copyright © 2001 The Washington Post. Reprinted with permission.
10 Adapted from “Diets of the World,” by Sandra Gordon and Sarah Yang, WebMD. From the website http://www.webmd.org.
12 Adapted from “Drink, blink, and rest,” by Tessa Thomas, The European Magazine, August 17-23,1995, page 15.
14 Adapted from “Azeri hills hold secret of long life,” by Chris Morris, Guardian Weekly, June 29 - July 5, 2000, page 22.
18 From “Two Kinds,” THE JOY LUCK CLUB by Amy Tan, copyright © 1989 by Amy Tan. Used by permission of G.P. Putnam’s Sons, a division of Penguin Group (USA) Inc. Reprinted by permission of Abner Stein, Ltd. (London).
20 Adapted from “Born to Paint Alexandra Nechita may be a budding Picasso,” by Karen Thomas, USA Today, June 27, 1996, page 01D. Copyright 1996, USA TODAY. Reprinted with permission.
22 Adapted from “The Sound of Silence,” by Jane Coombs, Herald Sun, April 8, 2000, page W03.
26 Adapted from “Executives Go Under Knife To Get Ahead,” by Camillo Fracassini, The Scotsman, August 6, 2000, page 6.
28 Adapted from “Pretty boys get the girl: What makes a man attractive?” by Brigid Schulte, The Montreal Gazette, September 5,1998, page J8. Copyright, Knight Ridder/Tribune Media Services. Reprinted with permission.
30 From “In the Land of Mirror, Mirror on the Wall,” by Thomas Omestad, U.S. News & World Report, July 23, 2001, Vol. 131,
Issue 3, page 33. Copyright 2001 U.S. News & World Report, L.P. Reprinted with permission.
34 Adapted from “Metal mate: Happy the car that thinks it’s your friend,” by Jonathan Watts, The Guardian (London), October 25, 2001, page 26.
36 Adapted from “Identification, Please!” by Doug Smith, Netweek. From the website http://www.ed2go.com/news/biometrics.html.
38 Adapted from “Researchers Worrying As Teens Grow Up Online,” by Patricia Wen, The Boston Globe, April 21, 2000, page Al.
42 Adapted from “Spanking on Trial: Should parents ever strike their children?” by Joe Chidley with Don Murray and Sharon Doyle Driedger, Macleans, May 8,1995, page 24.
44 Excerpt adapted from Chapter 15 in SNOW FALLING ON CEDARS, copyright © 1994 by David Guterson, reprinted by permission of Harcourt, Inc. Reprinted by permission of Bloomsbury Publishing Pic. (London).
46 Adapted from “Schools are taking all the fun out of suspension; Punishment: With few parents at home to supervise kids, officials are experimenting with on-campus programs,” by Anna Gorman, The Los Angeles Times, March 13, 2000, Metro, Part B, page 7. Distributed by Tribune Media Services. Copyright 2000, The Los Angeles Times. Reprinted with permission.
50 Adapted from “Death and superstition: the rural South,” by Charles Edwin Price. Copyright © 2001 by Page Wise, Inc. Used with permission. From the website http://va.essortment.com/deathsuperstiti_rxzf.htm.
52 Excerpt from CHAPTER TWO © 1979 by Neil Simon. Professionals and amateurs are hereby warned that CHAPTER TWO is fully protected under the Berne Convention and the Universal Copyright Convention and is subject to royalty. All rights, including without limitation professional, amateur, motion picture, television, radio, recitation, lecturing, public reading and foreign translation rights, computer media rights and the right of reproduction, and electronic storage or retrieval, in while or in part and in any form are strictly reserved and none of these rights can be exercised or used without written permission from the copyright owner. Inquiries for stock and amateur performances should be addressed to Samuel French, Inc., 45 West 25 th Street, New York, NY 10010. All other inquiries should be addressed to Gary N. DaSilva, 111 N. Sepulveda Blvd., Suite 250, Manhattan Beach, CA 90266-6850.
54 “Funeral Blues,” copyright 1940 and renewed 1968 by W.H. Auden, from COLLECTED POEMS by W.H. Auden. Used by permission of Random House, Inc. Reprinted with permission by Faber and Faber (London).
58 Adapted from “Can you believe what you see?” by Anjana Ahuja, The Times (London), September 10, 2001, Features. Copyright © 2001 NI Syndication, London.
60 Adapted from “Man weds the wife he forgot - Brain cancer stole Ken’s memories,” by David Wilkes, The Sunday Telegraph (Sydney),
April 29, 2001, page 52.
62 Adapted from “Repeat After Me: Memory Takes Practice; Forget Herbs; Focus on Focus, Experts Say,” by Valerie Strauss, The Washington Post, August 7, 2001, page A07. Copyright © 2001 The Washington Post. Reprinted with permission.
66 Adapted from “Booster Shots; Personal Possessions Can Be an Object Lesson,” by Rosie Mestel, The Los Angeles Times, March 4, 2002, Health, Part S, page 2. Distributed by Tribune Media Services. Copyright 2003, The Los Angeles Times. Reprinted with permission.
68 Adapted from ROOTS OF SELF by Robert Ornstein. Copyright © 1998 by Robert Ornstein.
70 Adapted from “Mind your P’s and Qj>>” Successful Meetings, February 2000, Vol. 49, Issue 2, page 33. Copyright © 2003 VNU Business Media, Inc. Used with permission from Successful Meetings.
74 Adapted from “I’m just another kid from Brooklyn: Woody Allen talks about his new movie, ‘Celebrity’ - and his life as one,” by Denis Hamill, Daily News (New York), November 15, 1998, Sunday Extra, page 2.
76 Adapted from “California law has paparazzi shuddering,” Current Events, November 13, 1998, Vol. 98, Issue 10, page 3. Special permission granted by Weekly Reader, published and copyrighted by Weekly Reader Corporation. All rights reserved.
78 Adapted from “Fan Club Confessions: Teens Underestimate Influence Of Celebrity Idols,” by Courtney Bennett, Psychology Today,
Jan/Feb 2002, Vol. 35, Issue 1, page 18. Reprinted with permissions from Psychology Today Magazine, Copyright © 1986 Sussex Publishers, Inc.
82 Adapted from “Getting Serious About Clowning; Ringling School Lures the Circus-Struck With Classes in Pratfalls and Pantomine,” by Marylou Tousignant, The Washington Post, April 13, 1996, page D01. Copyright © 1996, The Washington Post. Reprinted with permission.
84 Adapted from “Circus Town: Ringling Bros and Barnum & Bailey is a movable village of 285 people who are very much at home on the road,” by Justin Davidson, Newsday (New York), March 20, 2001, Part II, page B06. Distributed by Tribune Media Services. Copyright 2001, Newsday. Reprinted with permission.
86 Adapted from “Tragedy at the circus,” St. Petersburg Times, January 13, 1998, Editorial, page 8A. Copyright © St. Petersburg Times 1998.
90 From “Shaolin Temple Journal; Where Zen and Kung Fu Got Off to a Flying Start,” by Erik Eckholm, The New York Times, March 28, 1998, Section A, page 4. Copyright © 1998 by The New York Times Co. Reprinted with permission.
92 Adapted from “The Karate Generation,” by Susan H. Greenberg, Newsweek, August 28, 2000, 136, no. 9, page 50. Copyright © 2000 Newsweek, Inc. All rights reserved. Reprinted by permission.
94 From IRON AND SILK by Mark Salzman, copyright © 1986 by Mark Salzman. Used by permission of Random House, Inc.
98 Adapted from “Smart Clothes” by Louise Marks. From the website http://www.usc.edu/isd.publications/networker/97-98/
Nov_Dec_97/dispatch-smart_clothes.html. Copyright © 1999 Information Services Division, University of Southern California.
100 Article by Miki Takashima from The Daily Yomiuri, October 20, 2001. Copyright © The Daily Yomiuri. Reprinted with permission.
102 Adapted from “How To Separate Trends from Fads,” by Irma Zandl, Brandweek, October 23, 2000, © 2003 VNU BUSINESS MEDIA INC. Used with permission from Brandweek.
106 Adapted from “Media: Alien concepts: Something strange is happening to US tabloids. They are trying to upmarket,” by Edward Helmore, The Guardian (London), October 9, 2000, Media Pages, page 10.
108 From “When our worlds collide,” by Richard Folkers, U.S. News & World Report, Vol. 123, September 15, 1997, page 40. Copyright 1997 U.S. News & World Report, L.P. Reprinted with permission.
110 From VIEWING VIOLENCE: HOW MEDIA VIOLENCE AFFECTS YOUR CHILD AND ADOLESCENT by Madeline Levine, copyright © 1996 by Madeline Levine. Used by permission of Doubleday, a division of Random House, Inc
114 From GIRL WITH A PEARL EARRING by Tracy Chevalier, copyright © 1999 by Tracy Chevalier. Used by permission of Plume, an imprint of Penguin Group (USA) Inc. Reprinted by permission of HarperCollins Publishers Ltd. (London) © 1999 Tracy Chevalier.
116 Adapted from “The missing link: Architects have discovered the Holy Grail of building design - organics,” by Maria Cook,
The Ottawa Citizen, March 17, 2002, page C8.
118 Adapted from “How forgeries corrupt our top museums,” by Peter Watson, New Statesman (London), December 2000 - January 2001,
129, pages 14 — 15. This is taken from an article which first appeared in New Stateman.
122 Adapted from “So Who’s The Comedian? 120 Terrifying Seconds in The Spotlight at the Improv,” by Gene Weingarten,
The Washington Post, September 14, 1999, page C01. Copyright © 1999, The Washington Post. Reprinted with permission.
124 Adapted from “Taking Humor Seriously in the Workplace,” by Steven Sultanoff. From the website http://www.humormatters.com/ articles/workplace.htm.
126 Adapted from SeinLanguage, by Jerry Seinfeld, © 1993 by Jerry Seinfeld, Bantam Books, page 63. And Everything And A Kite,
by Ray Romano, © 1998 Luckykids, Inc., page 89. And Fatherhood, by Bill Cosby © 1986 by William H. Cosby, Jr., Dolphin Book (Doubleday and Company, Inc.) page 20.
Every effort has been made to trace the owners of copyright material in this book. We would be grateful to hear from anyone who recognizes their copyrighted material and who is unacknowledged. We will be pleased to make the necessary corrections in future editions of the book.
.
