Prior to the Awesome Show, Tim and Eric starred-in/created Tom Goes to the Mayor, another Adult Swim program that, unlike it’s follow-up, was primarily animated and much more story-based.  The limited animation style of TGTTM was created from highly expressive (both facially and bodily) still images -processed through photo-shop to resemble photocopies and making for incredibly jumpy transitional movements for the characters- to tell the stories.  The program, which evolved from a web series, had a very specific aesthetic of it’s own, while including random live action clips interspersed throughout it.  When the Awesome Show was created, it adopted some of those same live action characters (ie. married news team, Jan and Wayne Skylar).  It also brought with it some of the many co-stars/cameos that Heidecker and Wareheim had managed to work with on Tom Goes to the Mayor (Patton Oswalt, Zach Galifianakis, Jeff Goldblum, etc.).  With the shift into the more fragmented approach of the Awesome Show, an altogether new, yet equally distinct, aesthetic was created that came to define the duo.  Eschewing the static imagery and stiff facsimile look of the two-tone TOM for schizophrenic blips and the diced-up scattered imagery of their new program, the live action felt decidedly more “animated” and, for lack of a better word, psychedelic.  It was like laying half-chloroformed in a bin of mixed candy’s while a wall of televisions flipped through clips of Max Headroom, QVC, white noise, Univision, and Sid and Mary Krofft outtakes.  While TGTTM was like a pill high (or, low, rather), The Awesome Show was like floating out of an LSD or Molly trip, while spiking your high back up with OJ, wasabi, and a cocktail of  the shit that gets you crunk, but wasn’t necessarily created for that intended purpose (solvents, dramamine, nitrous, Robitussin).  The strychnine was dirty.  The cinematography often felt like a real life John Kricfalusi cartoon. This was a style that followed Wareheim into directorial work in videos for the likes of MGMT, The Bird and the Bee, Major Lazer, and Depeche Mode, as well as commercials for Old Spice.  They’ve done live tours and even some short films for HBO‘s Funny Or Die presents, but this week the comedy duo is attempting to translate their trademark tomfoolery onto the big screen (or small screen, depending) with a handful of somewhat unorthodox promotional methods.

THE FILM

Co-presented by Funny Or Die, Tim & Eric’s Billion Dollar Movie revolves around the concept that the stars were given one-billion dollars to make a film, but pretty much blow it all immediately and are then expected to repay what they’ve fizzled away.  From there, hijinks and comedy ensue.  Many Awesome Show pals and semi-regulars such as John C. Reilly, Zach Galifianakis, Jeff Goldblum, Will Forte, and Will Ferrell make appearances, along with the folks who’ve starred in memorable sketches/segments and earned most of their own recognizability through the Adult Swim program (James Quall, David Liebe Hart, and Palmer Scott).  Perhaps the most intriguing twists come with their consistent casting of historically more “stoic” or “serious” personalities like Robert Loggia (Scarface, Big), William Atherton (Ghostbusters, Die Hard), Costas Mandylor (Picket Fences, Mobsters), Ray Wise (Twin Peaks, 24), and even business tycoon/executive producer, Marc Cuban (Dallas Mavericks, Lionsgate ent., etc.).  There is even narration provided by Michael Gross of Family Ties fame.  Simply based on nothing other than the trailer alone, the film is unmistakably a Tim & Eric production, but, as stated before, it is intended to follow a somewhat cohesive storyline and veer away from their typically and disorientingly warped pacing, which is far less likely to work as effectively in a longer format.

THE PLEDGE

Tim and Eric have stated that, after 5 seasons in as many years, the Awesome Show is effectively over in it’s current form.  Just like their previous jump from Tom Goes to the Mayor, the guys are moving on to new projects with the hopes that they will be received as successfully as the one that they’re moving on from.  To ensure that help to insure that people support their newest venture, Heidecker and Wareheim have created a form that anyone can print out and sign, pledging that they will make the effort to go out and watch Tim & Eric’s Billion Dollar Movie, among other things.

In a relatively short period of time, an impressive number of celebrities  (as well as us lesser, common-folk) have videotaped themselves signing the document.  Here are a few of the more notable uploads…

Elijah Wood

James Murphy

Aziz Ansari

Paul Rudd

Weird Al

More videos on the official BDMPLEDGE Youtube Page HERE.

SIGN THE PLEDGE!

Rango’ed

Over the last week or so, Heidecker and Wareheim premiered their decidedly “raunchy” Billion Dollar Movie at -of all places- The Sundance Film Festival in Utah.  Throughout the frenzy of publicity that occurs at the world famous “indie” film fest, the duo participated in more than a handful of interviews.  Most of the footage simply shows the guys toying with interviewers and/or pushing the idea of a conspiracy that their film was actually being re-edited by studio heads to incorporate outtakes from the animated Johnny Depp lizard/Western vehicle Rango and pleading for the fans to help petition against Sundance, begging the festival to hear their pleas and show the “original” pure and “un-Rango’ed” version.

Instead of promoting their film in the typical manner and allowing the interview to progress in the direction that the interview is likely hoping and prepared for(discussing the film, etc), this following interaction with In The Can demonstrates Tim and Eric redirecting the tone and subject in their own unique and expertly perfected manner.

[If you're short on time, but still into really awkward shit, jump ahead to view the 6:47 - 7:25 mark]

As their wolf cries about Rango continued, it was great to see people like Alia Shawkat (Arrested Development) jump in to perpetuate the absurdity.

Here’s a nicely polished and edited little video that shows a condensed 360 version of the entire Rango’ing saga.

THE RELEASE (Sundance, Theaters, On-Demand, & Youtube)

Not all of the press that Tim and Eric participated in at Sundance was focused on or redirected towards the propaganda about Rango.  In fact, some of the interviews actually showcase footage where the filmmakers are the most “out-of-character” than we’ve probably ever seen them.  One such interview with The Hollywood Reporter stays pretty much on topic throughout it’s majority, but they do make tongue in cheek references about people walking out of films.  For those of you who bother to watch until after the credits of the last “Rango Saga” video (@2:36 mark) you will see footage of Eric Wareheim claiming that he and his partner “killed Sundance” and that the movie was “a total hit“.  Whether that’s an accurate account of the film’s reception or not is subjective, but what we do know is that plenty of people got up ans simply walked out in the middle of the screenings.  [To be fair, it's not the only controversial movie that drove uncomfortable patrons from the theaters mid-screening; Rick Alverson's, The Comedian, a drama about aging uncouth hipster's -also starring Heidecker and featuring Wareheim, along with James Murphy of LCD Soundsytem and DFA Records- also proved to be incredibly polarizing.]

In an even more frank and straightforward interview with /FILM, they discuss how they didn’t bother to “cater” their work towards the Sundance “community” at all and make sure to stress that the film was intentionally created to be viewed on the big screen, implying that witnessing the full and varied audience interaction is part of the overall experience.  In that same interview, they further explain that their compromise with finding alternate methods of release outside of theaters came from an acknowledgement that, with the films limited theater release, many fans might be unable to view the film otherwise.  In fact, their Video On Demand release, which began yesterday (January 27th), arrives more than a full month before the March 2nd theatrical debut for the public.

Taking further advantage of what current technology has to offer, Tim and Eric have also made the film available for advanced screening on Youtube.  You may have noticed, through accidental clicks or otherwise, that Youtube has added the option to rent feature length films on the site. No?  Yes?  Well, they have and the Billion Dollar Movie is one such movie that is currently available.  This evens the playing field further, for those who do not have access to On demand through their televisions.  Here… I’ll let the creators sell you the idea themselves.

If you still haven’t caught on yet, you’re being bamboozled with the stalling youtube video above; it’s all chicanery and Hollywood magic.  It’s a parody y’all… shenanigans.  But seriously folks… if you want to rent it on youtube, you can do so through HERE.

To visit the official Tim and Eric’s Billion Dollar Movie website, CLICK HERE.

If you’ve made it through this entire post (videos included), great job!

Marc Maron

Neptune Theatre

Seattle, WA

11.25.11

So you’re probably thinking, “Jesus Christ, Devon. What the fuck?  This goddamn show was, like, two months ago. What the hell took so long?”  I know.  I understand.  I’m a little upset about it all myself.  But here’s the thing, see… it’s Marc Maron.  I love the guy, I really do, but sometimes he can be a little rough for me.  Not him or his material per se, but the thing is that, when I talk about Marc Maron, or when I think about Marc Maron, I can’t help but think about myself.  I can’t help but think about how I think about myself, how much I do, and why and when.  Once I start getting into self-examination like that, well, it can get a little overwhelming, and it can get a little paralyzing.  But at the end of it all, it’s why I love Marc Maron.  It’s why I’ve listened to all two-hundred forty-something episodes of his podcast.  It’s why I bought all four of his stand-up records, and why I’ve read his book more than once.  It’s why I snagged a ticket to 2010’s Bumbershoot festival, just so that I could see a live taping of his podcast.  It’s all because I know that I should look inside myself – I want to and I feel like I’m ready to- and it’s not something that I was ever compelled to do before I got into this one stand-up comedian.

Marc Maron has been doing stand-up for over twenty-five years.  He’s been on my radar since junior high, back when I’d come home from school and watch whatever was on the then-nascent Comedy Central.  Every day I’d listen to In Utero, drink Dr. Pepper, and watch clips of stand-up comedians on Stand-Up Stand-Up and Short Attention Span Theater, a clip-show that Maron briefly hosted in the early ‘90s.  For years after that, I’d occasionally flip by Marc Maron’s half-hour Comedy Central specials on television, and his name always popped up in conversations I’d have with my other comedy-nerd friends – one of whom would make a point to see him on his unbelievably frequent appearances on Late Night with Conan O’Brien (the comedian has performed over forty times on the show).  Marc co-hosted Morning Sedition on the defunct left-wing talk-radio station Air America and I can still remember a close friend telling me that the only way that he could listen to the show was to get up in the middle of the night and stream the East-Coast feed over the internet.  It was something he did as often as he could.

When he was coming up in the 80s and 90s, Marc was part of the Alternative Comedy movement.  His shtick wasn’t about sport coats or “Do you ever notice?” Seinfeldian musings.  Maron turned his comedy inward.  He was unique because when he got up on stage he talked about things that happened in his life; the same painful and self-critical things that exist in your own life, but that you probably didn’t even talk about with your own friends.  It could get a little uncomfortable now and again, but it was always smart and always personal, even if it did hit upon rage and regret.  The genius of all of it was that it wasn’t until the bits ended that you realized they were bits in the first place.  They weren’t just stories or confessions like you thought, but they actually had structure and they actually had beats and punchlines, subtle though they were.  Nothing seemed forced or egregious, it just seemed natural and intimate.  You laughed because you “got it.”  Maybe you were the same way.  Maybe you yelled at someone like that or maybe you doubted yourself the same way.  Maybe those same voices in your head tore you down the same way that they did Maron.  Marc’s honesty onstage was what drew you to him, and it’s something that you had to be ready for.

During the late 2000s, Marc Maron was at a crossroads.  It’s something that he’s often talked about in interviews and on podcasts, but to put it bluntly, his career was at a standstill.  The radio gigs were up.  The clubs were half-full.  He’d been doing this for how long?  He was how old?  His 2009 double-disc album, Final Engagement (recorded in Seattle at the “renowned” Giggles comedy club) isn’t necessarily a depressing experience, but it most definitely isn’t an uplifting one.  The comic veteran’s exasperation and frustration is on full display – he opens the record by referring to himself as a “marginalized act” and goes onto voice every concern about his future and faltering career to the audience.  He says that people leave his shows saying one of two things: either, “That guy’s hilarious” or “I hope he’s okay.”  It’s clear that something had to happen, and that something turned out to be WTF.

WTF is Marc Maron’s podcast, one that he started in September 2009.  It’s early days were like this: Marc and a comedian friend sat down and talked for an hour.  That was it.  It started with some rants from the host talking into a microphone about his day, his insecurities, and his rage.  From there he would swap road stories and career tales with a fellow comedian – maybe someone like Dave Attell or Kyle Kinane.  I first heard about WTF a few months after it hit iTunes.  I’d been heavily into podcasts for a few years and I was definitely interested in something new, especially something with comedians riffing and complaining.  There were three months of WTF episodes available in the iTunes store and, as soon as I listened to Episode One, I knew that I’d found something goooood.  It was like I’d suddenly stumbled onto a new group of friends; a group of clever guys reminiscing about their careers and deconstructing the art of stand-up comedy.  I felt like I had a real connection with Maron, something that I hadn’t really felt throughout all of that time that I’d been watching him on television.  On the podcast, he was even more open about his own life, so much so that it made me feel like I should be too.  I could relate.  He made me – just some chump listener – feel like he was a friend.  I couldn’t stop smiling when he talked about something mundane, like how upset and embarrassed he was after he bought those boots that didn’t fit and then, how he felt like they were forever taunting him from the closet.  I’d felt the same way about a handful of awful shirts that hung in my own closet.  When he talked about loneliness with another stand-up I felt a certain kinship because I had those exact feelings too.  And, even while I couldn’t relate to his stories about blowing up at a colleague or being a callow youth, there was an energy and a confidence in his voice during every story that made me feel like it was alright to open up about your mistakes and missteps.  Sometimes Maron and his guest would get on a jag laughing about ‘80s stand-ups that I remembered watching on Comic Strip Live and I ached to be part of the conversation.  During his on-air eulogy for Greg Giraldo – a stand-up who died of a prescription drug overdose in September 2010 - I heard Marc’s heartfelt sobbing and hurt and I nearly broke down myself.  Months later, when comedian Greg Fitzsimmons was a guest, I came close to tears again; only this time it was because of how infectious and joyful it was to hear two friends – two guys who had come up together in the Boston comedy scene, decades ago – joke, laugh, and rib each other the same way that we all do with every one of our close friends.  The purity and sincerity was undeniable and it was made all the more poignant because it felt like an ordinary green room hang-out session and not an episode of one of the number one-rated podcasts on iTunes.

So, anyway… now Marc was coming to the Neptune Theater.  I knew that I’d be there.  I couldn’t not be.  But, as excited as I was for the show and to see one of the few comedians that I felt like I understood and related to, I was nervous.  This was partly because it was Marc’s first solo theater show – his first time out of the clubs – and I felt a little nervous the way that you would for any friend who’s taking a big step forward.  But mostly, I was worried, because I knew that I’d be in the Neptune alongside hundreds of people who felt the same way about Marc that I did.  Hundreds of us would be sitting side-by-side and it scared me to think that this very show could mean the end of the illusion that I, and I alone, had a truly personal connection to Marc Maron.  It scared me a little to think that Maron wouldn’t be mine.

I worried about who would be there and how this would affect my enjoyment of the show.  I had seen Marc Maron perform at a suburban comedy club about a year earlier.  There was a two-drink minimum and the feature act was a middle-aged Texan woman who did thirty minutes about how her boobs sagged and how her teenage daughter had a nose ring.  What I remember the most about that night wasn’t so much that I sat at the lip of the stage or that Maron looked me right in the eye as he ranted about his notebooks and his cats, but that the crowd wasn’t “hip.”  I remember looking around the club and noticing how many people – middle-aged and “regular” people – came out, not because they wanted to see “Marc Maron,” but because they wanted to see “comedy.”  It fell on a Friday night and it was just something to do.

But now, I thought, we were just one year later and within that time WTF had exploded.  Marc had been profiled in the New York Times and the Onion AV Club.  His show had pulled high profile guests like Gallagher (who stormed off the show) and Robin Williams, Ira Glass and Brian Cranston.  And we were in Seattle.  Would there be a theater full of mustaches and skinny jeans?  I was nervous that the person sitting next to me, the person sitting behind me, and the people sitting seven rows back would all be WTF-ers too, that they’d too know every detail about Maron’s life and had brought cookies and clever t-shirts for him.  Most importantly, I was worried that there might be a collective sense of over-enthusiasm at this show and that it would weaken the connection that I felt I had with Marc, that I would be forced to confront the fact that I wasn’t the only one who felt that way.

Before the show, I wondered what it  was that Marc would talk about.  Would he have a new act?  How new?  How much would I know from the podcast?  He just tweeted about shaving his mustache, I wondered if he’d have facial hair.  I wondered if his girlfriend was there.  I wondered if he’d talk about his cats Boomer or LaFawnda.  I thought about that story that I’d recently heard on WTF about the raccoon that died under his house and whether or not that would turn out to be part of his act.  I started feeling like I knew too much about Marc Maron.

At 9:30 it was time.  We’d already heard a little AC/DC canned music pumped over the speakers and we’d seen the opening act.  This was it.  Maron walked out onstage.  He wore black boots and had a 5 o’clock shadow.  The facial hair was on its way back.  He wore a blazer.  He wore Levi’s.  They were just like mine.

He opened his set by talking about the poster advertising this show.  It was an homage to a famous Lenny Bruce poster, from when the legendary comedian had performed at San Francisco’s Fillmore Auditorium.  Maron stood onstage comedy-nerding out about it, how flattered he was that someone had put him in such company, and also about how scared he now was that he’d have to try and live up to that mythology and legacy.  Marc segued into a line about his own relationship with his audience and how his tendency is to harangue everyone in some sort of unconscious effort to push them away, pull them back, and then push them away again.

Maron talked about the Occupy Wall Street movement and read a snarky and accusatory email that he sent to his cousin, a high-class stockbroker that he hadn’t seen since they were adolescents, jamming on a Rolling Stones tune in a relative’s basement.  Marc talked about his girlfriend and, in what was probably the most telling moment of this evening, he didn’t say, “My girlfriend and I” but rather, “Jessica and I.”  He stood on stage, called her by name, and immediately followed that with an acknowledgement that, yeah… we all knew who “Jessica” was.  We knew all about her and their relationship from the podcast.  It was that one tossed-off line, “You all know Jessica” that meant a lot to me and seemed to sum up, not only the entire evening, but also where Maron is right now in his career and in his life.  It was right then that everyone in the theater unconsciously realized that, when it came to Marc Maron (and especially to the post-WTF Marc Maron) that we all had a relationship with one other and with the man with the microphone standing before us.  Even if we’d never met, we were somehow still pretend-friends.  It was almost as if this one phrase had let us all know that there was no longer the same fourth-wall barrier between performer and fan.  We all agreed, in one way or another, that we were there because we had something in common and because we had this weird affection for and intimacy with one another.  Maron recognized this and it was at that moment that I realized that there really was unique energy and comfort in the air.

Most of the other bits I knew from the podcasts, and some I recalled from previous performances or from Maron’s most recent album, 2011’s This Has to Be Funny (recently named Record of the Year by Laughspin.com), but it was never a let-down or a retread to hear them again.  In fact, it was even more interesting to see these routines onstage.  On the podcast they were stories, but in seeing and hearing them told again to a sold-out audience, you couldn’t help but notice how they had progressed into becoming fully-formed pieces of his routine.  I think that we’d all come to this show because we were comedy nerds, and because we loved the craft and the craftsman.  Seeing Maron trim the fat off of the stories that I’d already heard (and that nearly all of us had already heard) about his near-death experience on an airplane or about masturbating in his hotel room was fascinating because I knew that he would do those same routines at every show – maybe up to 6 times in a weekend – and that each time it would sound the same and each time it would feel the same to everyone in the audience.  And, by saying it would feel the same, I mean that it would sound like the story was that spontaneous every time, and that it was new and exciting.  When Maron joked about how he thought that he honestly might die when his plane hit that turbulent patch and about how his moments in his life flashed before his eyes, he spoke in a way that had all of the energy of something that only happened yesterday, instead of months ago.  It’s all so natural and yet, we all knew that it was practiced and refined.  It was all incredible to watch, because it showed me his growth as an artist and a performer.  Maron suddenly seemed like more than just a comedian, he was a bonafide storyteller and monologist.  Even in the space of one year, from the time I’d seen him perform at that suburban club last February, I could see how much better he was, even at just talking.  He was comfortable and engaging in a way that he hadn’t been before.  He wasn’t a man trying to win anyone over or take control; he was a man holding court over a group of friends and acquaintances.

Throughout his set, Marc worked through a bunch of his new material.  He’d occasionally pull out a scratchpad that he’d penciled-up backstage and talked through what new bits he liked.  He tried out something about how he was trying to work out a bit about heel inserts.  He continued this way, talking through thoughts that he’d had and notes he’d scribbled on a napkin.  He talked about how ridiculous it was that he’d decided to vacation in Seattle in November.  He hit upon some standard Seattle tropes like coffee and rain.  He affectionately called us “wine-drunk Earth-nerds” and lampooned our aversion to umbrellas.  The comedian talked about his Thanksgiving dinner at a vegetarian restaurant (“Nothing is more exclusionary than large groups of people having a good time”) and his trip to the EMP rock and roll/science fiction museum (where all he could think was, “What is this place? A room of Kurt Cobain, a room of Jimi Hendrix, and then whatever the hell else we could think of? A room about Avatar? Sure! Why not?”).  He launched into something he calls his “honest mic check,” a routine where he alternates, “Check…check..one…two” with lines like, “I disappointed my parents” and “Bad career choice, dreams fading.”

Somewhere around halfway through the evening, Maron began to do some of his older stand-up material. He even introduced these old bits by saying, “I like to do some of my older material at these shows, because a lot of people just know me from What the Fuck.”  This was honestly some of my favorite material from the set, and not because it was necessarily better or more touching, but because they were all moments when I could truly see Maron act and perform.  They were more practiced and a little more conventional than the material that had popped up earlier in his set.  He’d been doing some of them for years but, instead of being stale, they were infused with an enthusiasm that came from his excitement about recreating his former self.  His stories about his drug addiction turning into ice cream addiction, or about being put in the outfield during Little League weren’t just routines tailor-made for theater-sized crowds, or routines that were hilarious regardless of how funny you found Marc Maron (or if you found him funny at all).  They were routines that harkened back to the angry, pacing Marc of yesteryear, rather than the -as he put it- more contemplative and sedentary Marc that we knew today.  Seeing him exaggerate and pace the stage like his younger self and watching him gesticulate and raise his voice gave me an entirely new appreciation for him as an artist and I respected it, both as a performance, in and of itself, and because it showed me a sense of Maron’s own self-reflection and the growing sense that he had about his own legacy and individual place in comedy.

He brought up Jessica again and discussed the details about when and how they first met (again referencing, with a smile, how he was sure that we all knew the story already).  He explained how she was a fan who hooked up with him at a Portland comedy festival and, not long thereafter, moved from San Francisco to Los Angeles (but, “Don’t worry,” she said, “I’m not a stalker”).  From there, he detailed their tumultuous courtship, how his Blackberry would get alternate picture messages from Jessica (of her vagina) and then from his carpenter (of a custom-made bookcase).  “And I gotta be honest, I was a little more excited about the bookcase.  I’m not afraid to put things in that.”  Maron closed out the bit by talking about a particularly gnarly screaming match that they’d had, in which a frightened neighbor had come to the door and pleaded with them to stop arguing.  It was that night when they first said “I love you.”

But in spite of everything that I’ve written here, in spite of the times that I used the words “rage” or “anger,” I really want to emphasize that Marc Maron never got truly dark or truly angry.  The descriptors of those emotions came through as parts of his stories and as major themes of his act, but real and true misery never once came through in his attitude or mannerisms.  Throughout the evening there was never anything but a feeling of warmth and togetherness, both in the crowd and onstage.  It seemed like even when what I was hearing were stories about shouting at girlfriends, having no one to turn to, or being forty-four years old and still jerking off in the living room, the way in which I heard them was one in which there was still hope and where things would always get better.  Marc Maron’s tone suggested that while it’s true that we can all become angry and insecure, life really isn’t much more than a comedy of errors and maybe if we take a chance and lay everything on everyone all the time we might just get some love back.  Maybe we’ll find ourselves with the love and respect that we always wanted.  It’s worked for him and it’s what we experienced there that night.  Marc Maron is just like every one of us that was there in the audience, even when there are times that we don’t want to admit it to ourselves.  We’re all prone to frustration, anger, and insecurity, and seeing Maron transform those feelings into something and to come out the other side was both refreshing and inspiring.  I didn’t come to see him for an escape, I came because I wanted to learn something about myself and I wanted to grow as a man and as a human being.  I came because I wanted to laugh at the joy that I’m connected to someone else and, on that night, connected to everyone else.  As much as we know that each of our internal monologues are idiosyncratic and unique, there’s a whole lot of people out there who are just like us and, on that night, I felt like we were all together and that we needn’t worry because, as long as we keep at it, we just might get it all under control.

[CLICK HERE to jump directly to giveaway]

Back in the early 2000s, I lived in Olympia, Wa and there was a lot of DIY music and media production happening in the small college town.  People were mixing albums in their basements, silk-screening posters and T-shirts in their kitchens, and using DV, High-8, and/or Super-8 cameras to record short films in dusty fields and damp alley ways.  My friend Mac Dawg was taking advantage of the fact that we had a local public access station to create his own programs.  His original idea was to film a fictional, biopic-style sitcom based around Kurt Cobain in the 80s, referencing his tenure as an Olympia resident.  Being a Jewish Puerto Rican in his early twenties who had dread locks and mutton chops at the time, he came to the conclusion that I would be the perfect person to star as the dead, blonde, white grunge-rock icon in the re-imagining.  The project never actually came to fruition, but, during a random house party at Mac Dawg‘s house, I came up with my own idea for another program by the name of “TANGENT.”  The basic premise was that I would have guests on, like an informal talk show, and then just consistently shift the topic on them.  [I only have brief glimpses of memory pertaining to coming up with the idea... I was really drunk.]  One morning Mac Dawg wakes me up with a phone call and asks if I’m ready to do the show.  “What show?” I asked.  I thought that he might be referring to the Cobain thing again.  He explained that it was my idea and that I should get ready, because he was planning to film it that morning.  I threw on a slim, denim 1970s pantsuit (just vest and pants) and a large plastic dollar sign necklace, bought a case of OLY stubbies and came up with/scribbled down some topic ideas onto a piece of scrap paper during the ride over to his basement, where the video equipment was set up.  Between being awaken to sitting in the basement getting miked, it was probably 1/2 hour total.  It was about 9am, I had taken down enough alcohol to get rolling and we went from there.  There was no real podcasting back then and there was no Youtube whatsoever.  There was no real direction for the program either and, although I’d like to believe that it had it’s moments, there was a decent amount of aimlessness involved.  I imagine that doing an improvised standup routine must be similar to trying to carry an unscripted program and helping it to remain interesting; it can get awkward quicker than you may think.  If I we could have harnessed those select moments, expanded them, and worked tirelessly on them for years, I could still only have hoped to yield something half as effortlessly smooth and entertaining as the podcast, “Uhh Yeah Dude.”

Tangent only made it to about 5… possibly, 6 episodes (for good reason).  UYD, on the other hand, just clocked in their 300th episode, since their 2006 inception, just last week.  With no particular frills, regularly scheduled celebrity guests, or even a consistently designated theme, the staying power of the program rests solely on the shoulders of its two co-hosts, their abilities to expand upon and quickly interject life into whatever topics that they do find themselves on, and their undeniable rapport with each other.  Visually somewhat of an odd couple, Jonathan “JAH” Larroquette is a bearded, cigarette-smoking, longhaired, vegan that generally remains seated while sporting either worn-in T-shirts or tanktops, while Seth Romatelli is a clean-shaven character with a finely coiffed do (rockabilly light?) consistently standing and/or moving about in, typically Western-cut, collared button-ups.  If Larroquette‘s name sounds familiar, it’s because he is, in fact, the son of Emmy award-winning actor, John “Dan ‘Reinhold‘ Fielding” Larroquette (Night Court).  He is also 1/2 of the electronic duo JOGGER that was signed to Daedelus‘ Magical Properties label, released an album back in 1999, and went on the Magical Properties tour with the electronic pioneer/label-head and Nosaj Thing back in 2010 (a tour that his dad tweeted about accompanying him on).  If Romatelli‘s name sounds familiar, it’s probably because you are already aware of the Uhh Yeah Dude podcast.  Either that, or you might be a huge fan of his bit part as a “talent organzier” in the Britney Spears vehicle Crossroads (2001) or as an obsessed celebrity memorabilia collector in the Hallmark made-for-tv movie, McBride: Anybody Here Murder Marty? (2005), starring his co-podcaster’s father a year before their hour-long web series was ever launched.  Whether it’s John‘s dad or Seth‘s appearance in a shitty teen film, neither Larrouquette or Romatelli shy away from their history, but that’s clearly not the basis of the program at all and, at the most, those topics might very rarely surface in the midst of their continuous banter.  What really carries the show are the hosts’ unrestrained social commentaries and back-and-forth between each other.  I haven’t listened to that many pod casts in general, but I have always gotten the impression that they were hosted by “experts” in one field or another, or that “experts” were often brought in to weigh in on some subject matter.  What’s great about UYD is that these guys don’t really claim to be experts in anything.  What they do, however, is make their listeners want to be involved in the topics themselves and, regardless of how absurd or trivial the topics may technically be, they definitely get the mental cogs churning and explore some visually descriptive avenues while they explore them.

Here’s a bit of a breakdown on the podcast and it’s success, via the press release:

Described as “A weekly roundup of America through the eyes of two American-Americans”, Uhh Yeah Dude (UYD) is available free via the Apple iTunes store.

Uhh Yeah Dude is a comedy podcast containing discussion and free-form comedy by host Seth Romatelli and co-host Jonathan Larroquette. Episode 1 of Uhh Yeah Dude first aired on February 11, 2006 and quickly gained a world-wide fanbase.

UYD is consistently ranked within the top 10 of Podcast Alley’s 3,000+ comedy podcasts. Additionally, Podcast Alley monthly ratings for almost 50,000 podcasts often rank UYD in the top 100 podcasts worldwide in all podcast categories. Since the summer of 2008, UYD has held a coveted spot on the front page of iTunes’ featured podcasts, where they are consistently in the top 50 iTunes comedy podcasts. Uhh Yeah Dude is recorded weekly and a new episode is available on iTunes every Sunday.

The show has utilized the video format several times. The first, and most famous, was when the duo recorded their 100th episode and posted it as a video podcast. Since then, UYD has engaged more professional video help and posted high-quality video clips of their show on YouTube.

Considering that the best way to really get a grasp on what UYD is all about would be to experience it, we’ve included a few of the aforementioned YouTube video here for your viewing pleasure.  In these following clips they tackle such serious issues as…

DRUGS:

Click here to view the embedded video.

PARENTING:

Click here to view the embedded video.

and…

PARENTING with Drugs:

Click here to view the embedded video.

You’ve likely noticed that some of these clips were filmed in front live studio audiences.  That’s because, occasionally, UYD will go out and do live tapings of their podcasts in venues around the country.  On Friday, January 13th the guys will being make one such appearance at the Neptune Theatre here in Seattle.  Coincidentally, Friday the 13th was one of the topics on their recent 300th episode.  Also, somewhat coincidentally (but not really, because that’s what this post is created for), our friends at the Seattle Theatre Group provided us with a pair of tickets to give away to one of yooz lucky jerk awffs.

Tickets can be purchased for the event HERE

It came down to the wire again, but the winner has been chosen and contacted [The winning entry was #10].  Thanks again to everyone who entered.  For updates and first alerts about future contests, follow us on Facebook. (there should be a little widget to click on the right… over there somewhere———>)

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For many, comedian/writer/actor, Patton Oswalt may be the most identifiable as Spence Olchin, a character that he portrayed on the sitcom The King of Queens from 1998 – 2007.  That final year he also took on what was, arguably, his most widely “successful” gig, voicing Remy the Rat in the Disney/Pixar animated film, Ratatouille.  Currently, Patton maintains a recurring role on the Showtime original series, United States of Tara.  It hasn’t always been the most profitable gig in the world to be a comedian, but Oswalt‘s managed to make a living taking on gigs from comedy writing (Mad TV, Dr. Katz, Human Giant) to memorable television appearances (Tom Goes to the Mayor, Tim & Eric Awesome Show, Reno 911!, Flight of the Concords), always shining larger than his bit parts and minor roles might suggest. In 2009, a starring role in the independent drama Big Fan, further solidified his legitimacy in the acting world.

Acting and writing aside, Patton is still, first and foremost, a highly respected standup comedian.  Back in 2004, Oswalt put together the Comedians of Comedy tour, along with Zach Galifianakis, Brian Posehn, and Maria Branford.  The alternative comedy tour utilized space in indie rock venues to host their nightly shows, as opposed to the stages of typical comedy clubs.  The tour was chronicled in a documentary of the same name, a subsequentl series, and even an opening act at the 2007 Coachella Valley Music Festival.  Oswalt has already recorded successful comedy specials for both HBO and Comedy Central in the past and cemented himself as one of the top standup comedians over the last 15 years, but, at this point, Patton doesn’t seem content with completely abandoning the artform that originally brought him to the forefront for an easier route with less substance.  He continues to write and he continues to come up with more and more consistent material.  To showcase his latest work, the comedy mastermind will be bringing his spot-on perceptions and brilliant social commentaries to Seattle‘s own, Moore Theatre.  On Saturday May 14th, two shows will be held at the legendary venue and videotaped for a the comedians new DVD.  Thanks to our friends at the Seattle Theatre Group, we are offering one lucky winner a pair of tickets to the event for FREE!

Click here to view the embedded video.

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THE CONTEST / GIVEAWAY:

*One winner will receive a pair of tickets to catch Patton Oswalt’s 9:30pm show at
The Moore Theatre in Seattle on May 14th.

HOW TO ENTER:

Patton will be performing 2 separate shows on the night of May 14th; one at 7 pm and another at 9:30pm.  Both will be filmed and the best footage will be used for the final DVD.  Due to a high demand, tickets are disappearing like crazy and the 2nd show had to be added.  We will be giving away a pair of ticket to the 9:30 performance only! If you are concerned about getting in and/or can only attend the 7pm performance, we urge you to buy tickets immediately through this link.

#1)

The video above about the KFC Famous Bowls (aka: “a failure pile in a sadness bowl“) contains one of Patton’s more well known routines.  To enter, all you have to do is give us some detailed insight into something that disgusts you about modern day society.

#2)

Post your answer in the comment section below.

#3)

There is no part 3.  That’s all there is to the contest.  It’s pretty easy… but you should probably read the fine print.

The Fine Print:

All entries must be received by Saturday April 30th at 11:59 pm to be eligible.
You can enter as many times as you want but, use a valid email so that we can contact you.
Winner’s will be chosen arbitrarily, based on our personal “favorite”, so try to be interesting.
If we are unable to contact the winner in a reasonable amount of time, a new winner will be chosen.

[If you have any intentions to post comments asking us to pick you, or asking when the winner will be announced... how about, just don't do it?  It's pretty fucking obnoxious and it won't help your chances.]

On the first day of 1990, Chicago-based, Drag City Records put out a 7″ single called “Hero Zero” by the, then-relatively unknown, duo of Neil Michael Hagerty and Jennifer Herrema (aka: ROYAL TRUX).  It was the first release by the label (DC1) and, while endless other independents have come and gone over the years, very few have started off so promisingly.  When the money was recouped from that first single, it was reinvested to release another 7″; the Demolition Plot J-7 EP (DC2) by Pavement.  Things were looking surprisingly decent, so the founders, Dan Koretzky and Dan Osborn, decided to try and pull off the release of a full-length; the terrifyingly ambitious double-LP, Twin Infinitives, again from Royal Trux.  Since then, Drag City has gone on to release project after project based on one defining/primary criteria: their personal belief in the artists and material.  When the name Drag City is mentioned these days, prolific artists like Will Oldham (Bonnie “Prince” Billy, Palace Bros., etc), Silver Jews, Bill Callahan (aka: Smog), Joanna Newsom, and, of course, the Trux, instantly come to mind.  There is definitely some intangible element of credibility that runs throughout the various projects and unifies them, but what exactly that defining “genre” behind the label is has puzzled many a categorization-obsessed journalist, througout the years.  In a November, 1993 issue of Spin Magazine, David Berman (Silver Jews) was quoted addressing the phenomenon by describing Drag City as a label with an “intellectual streak” throughout its roster, while “American rock music is about glorifying stupidity for the most part.”  I think that, not unlike Berman himself (also a poet, illustrator, & aspiring screenwriter), Will Oldhan (producer, actor, musician,etc.), and many others who call the label their home, Drag City is much more than a one-dimensional institution content with simply retracing their footsteps over and over again.  So, is it surprising to hear that the next big adventure for Drag City may involve a foray into the comedy world?  Maybe… but, in reality, it probably shouldn’t be.

Last year showed Drag City branching out by entering into the world of film distribution, taking the feature-length “Trash Humpers” by Harmony Korine to theaters and releasing Vernon Chatman‘s (Wonder Showzen, Xavier: Renegade Angel) experimental erotica, “Final Flesh” on DVD.  Based on the limited information that I read regarding Drag City‘s decision to enter into the film business, I got the general impression that the decision stemmed from a perspective that was relatively close to, “Fuck it!  We haven’t really done this before, but I bet we can pull it off.  Let’s give it a shot.”  They’ve released literature in the past, comic books, and even a new audio book read by Will Oldham. However, aside from Jen Hanneman (aka: Fred Armison) and his instructional drumming video,  Neil Hamburger has operated as the label’s resident funny man – releasing multiple comedy albums, DVDs, 7-inches, and even a Western album- and, for all intents and purposes, it’s sole comedy act.  For those of you who are unfamiliar with the name “Neil Hamburger“, he’s the miserable looking bastard on the left side of the header image.  To his right, is the equally aggravated, and equally hilarious, Todd Barry (Delocated, Flight of the Conchords) who will be joining him on the “SPRING VALUE” comedy tour this April.  I’ve seen Neil quite a few times, but it’s generally been in dive bars with a musical act (and once, a semi-pornographic magician) opening up for him, so it’s great to watch his stock rise with comedy tours like this and the one that he recently did with Tim and Eric.

The week-long SPRING VALUE dates (listed below), which were sent out to us recently, showed the tour running from April 8-15 and hovering exclusively around the mid-west and Southern portions of the country (OH, PA, WV, KY, & IN).  For now, not much has changed, except for 2 additional shows being added for Chicago, both of which will take place on April 7th.  What is, perhaps, the most exciting thing about this bonus kickoff date is that it actually marks the launch of a regular Drag City-hosted comedy showcase that will be taking place at the Chicago venue, The Hideout.  At least it appears that it will be a monthly routine… What I wasn’t previously aware of was the fact that DRAG CITY actually held a regular showcase called “THE PEOPLE UNDER THE STARES” at the very same spot , which featured an amazing group of, now-infamous, comedy stars like Paul F. Tompkins and Zach Galifianakis.  As you will soon read in the following press release, those monthly events took place throughout the year of  2007 and this Hamburger/Barry show is being credited as the relaunching of those discontinued TPUTS comedy nights.

[List of additional Tour Dates are featured below]

The Return of THE PEOPLE UNDER THE STARES featuring Todd Barry and Neil Hamburger! Brought to you by Drag City.

Way back in the summer of 2007, Drag City launched a highly ambitious comedy series that convened once a month in the toddlin’ town of Chicago, on the buzzkill night of Monday. You might not remember as you were pissing your britches back then (ah, college). For lack of an actually funny name, it was called The People Under the Stares and it was known for hosting a combination of local acts and national acts and that raised brows and lifted hemlines. Performers included Fred Armisen, Neil Hamburger, Paul F. Tompkins, Heather Lawless, Hannibal Buress, Ron Lynch, T.J. Miller and Zach Galifianakis, amongst many funny others. There was a guest speaker night fearing several of the original writers and editors of National Lampoon Magazine, crossover acts like Will Oldham (whose set killed!) and a live house band playing the opening and closing themes (and standing uncomfortably in-between). Naturally, by the time a year had passed, exhaustion had set in – twelve months in a row of one funny night per month was just as difficult as you might imagine. Of course, 2008 was “The Year Comedy Broke” – (no) thanks in no small part to the efforts of The People Under the Stares, Drag City and yes, even the Hideout even! After seeing everybody who got their start on the TPUTS stage go to Comedy Heaven (apparently, NYC), it’s been a bitter dream of Drag City’s to return to the realm of comedy and harvest from another generation of funny talent. Behold! On April 7th, it’s starting again. You won’t want to miss us dipping our little toe back in the water at The Hideout on Thursday, April 7th, as we promote the Spring Value Tour! Featuring Todd Barry! (Drag City’s own) Neil Hamburger!  And Brendon Walsh!

4/7/11 7 PM & 10 PM @ The Hideout, 1354 W. Wabansia, 773-227-4433, $20, 21+.

NEIL HAMBURGER / TODD BARRY

SPRING VALUE TOUR

with special guest Brendon Walsh

Jon Smith “Is This Thing On?” Show Poster

$20.00
poster
18 x 24 inches
Commemorative show poster
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“IS THIS THING ON?”

Comedian-Themed Art Exhibit

January 7 – 29, 2011

Gallery 1988: Melrose

Los Angeles, CA

Although we loved it when we first came across Tim Doyle‘s “Murray Times 6 print (January of 2009), paying tribute to various time-period’s of the actor’s career, we still chalked it up as one of those great one-off ideas.  The piece held such an immediate appeal that it was surprising that no one had attempted it sooner.  Like calling “shotgun!” or an ingeniously timed mama joke, it was difficult not to appreciate the concept that the artist simply “got to it first“.   The crazy thing is that, Doyle actually didn’t get to it first.  At least a year prior to that, another artist by the name of Jeff Boyes had already both created and sold-out of another Murray print; this time, paying tribute to the title character from the Wes Anderson film, The Life Aquatic with Steve Zissou.  I doubt they were even the first one’s to have taken on the comedian as their muse, but it was hard to fathom that there could be much more life-blood left, if any, in regards to creating Bill Murray-focused art pieces.  When Los Angeles‘ Gallery 1988 held their CRAZY4CULT group exhibit last June, however, Todd Slater‘s RUSHMORE inspired piece helped to discount that notion.  Then, in September, another L.A.-based gallery, the R&R, held an entire exhibit dedicated to “Mr. Bill Murray” (perhaps, you remember our preview for that show).  Less than a month later we found ourselves, yet again,  posting even more Murray-related works, with our preview of Spoke Art‘s ridiculously amazing Wes Anderson-themed “Bad Dads” group exhibit at San Francisco‘s Lopo Gallery (feat. work by both Doyle and Slater).  Even more surprising than the fact that everyone’s favorite Ghostbuster keeps popping up in the artwork of so many talented artists, is the fact that, rather than becoming an increasingly worn-out and tiresome subject, the work actually seems to be getting more and more impressive.  Much of this anomaly can be easily attributed to the benefit of group shows to provide variety through the numerous artists’ individual styles and interpretations.  Still… by this point, this metaphorical dead horse should have pretty much had its skull crushed in and been transformed into Elmer’s and gelatin, right?  Wrong! We recently came across an amazing original acrylic and wood Caddyshack-inspired piece by artist, N.C. WINTERS that just might take the cake.  When you consider that the painting, “Wisdom of the Lama“, was created as part off the 3rd group exhibit to feature a Bill Murray image that we’ve covered in the last 6 months, it can seem a bit excessive.  However, by giving little more than a quick glance to the example pieces in Gallery 1988‘s current “Is This Thing On?” exhibit, it should become instantly clear that the Melrose venue’s present curation provides plenty of inspired work. Work that is worthy of any art/comedy/film/pop-culture enthusiasts full attention.

Beyond posting about the R&R and LOPO galleries exhibits last year, we also showcased pieces from Gallery 1988‘s TV-Themed “Idiot Box” group show back in April of 2009.  After factoring all that in, it’s surprising that we allowed Is This Thing On? to slip past our radar until the day of it’s opening last Friday.  As the name might suggest, the concept behind the group exhibit (co-presented by Funny Or Die) focuses entirely around the theme of legendary standup comedians.  The slogan of, “100 artists take aim at funny people” doesn’t quite do the exhibit justice.  Among the participants providing their talents are “Bad Dad” contributors like Kevin Tong, Todd Slater, Lauren Gregg, Casey Weldon, Rich Pellegrino, and Ibraheem Youssef, Gallery 1988 favorites/regulars like Augie Pagan, Netherland, Scott Campbell, and Mike Mitchell (Team Coco), and big names like Alex Pardee, Tara McPherson, Chet Zar and Travis Louie.  Jeff Boyes even contributes an amazing Chevy Chase print, this time around (arguably, better than the original Zissou image). Equally as impressive as the variety of artists are the numerous approaches and mediums used to differentiate them.  The horror art roots of Pardee and Zar float among Ellen Shinderman‘s hand-stitched work, one of Irma Rivera‘s uniquely constructed shadow box dioramas , Misha’s velvet paintings, Jason D’aguino‘s detailed matchbook art, and the result of Travis Louie processing the image of Brian Posehn‘s through his trademark Victorian mutant aesthetic.  As for the comedians represented, the artists are not fucking around with their choices.  You won’t find any homages being paid to overblown mediocre goons like Jay Leno, Jeff Dunham, or Carlos Mencia Ned Holness.  What you will find are pieces dedicated to living legends like Steven Wright, Steve Martin, Louis CK, Chris Rock, Paul Reubens, and Murray, as well as tributes paid to such late comedy heroes and innovators as Lenny Bruce, Bill Hicks, George Carlin, Mitch Hedberg, Richard Pryor, Greg Giraldo, and John Belushi.  We also are pleasantly surprised to see props given to such fringe and/or often forgotten comedy teams as Tim & Eric, The State, Bob & David, Human Giant, Upright Citizens Brigade, and Kids in the Hall.  Perhaps the most surprising thing for me, personally, is the multitude of Artie Lange and Jon Lovitz prints that made their way into the exhibit (quite a few).

Gallery 1988 now boasts two separate locations in the Los Angeles area.  This particular exhibit is being held at the Melrose location at:

Gallery 1988
7020 Melrose Ave
Los Angeles, CA 90038
Neighborhood: West Hollywood

“Is This Thing On?” will continue to run through January 29th, 2011, for those lucky enough to catch it in person.
For anyone interested in owning a piece from the show, they can be purchased through the gallery’s official website.

While most exhibits tend to simply offer original pieces or only provide a selection of limited prints for purchase, this one is offering pieces created exclusively for each method.  If you are a hardcore collector with a ton of loot, there are some nice pieces available but, if you are on a slightly tighter budget, plenty of great options are still available.  Below is a selection of some of our favorite works from each category.  To see the full selection of what’s available, visit NineteenEightyEight.com.

(click titles to link/purchase)

PRINTS:

Jeff Boyes “Clark W. Griswold”

archival print

24 x 18 inches

limited edition of 70, signed and numbered

Inspired by Chevy Chase

Scott Derby “Cheech & Chong”

digital archival print

8 x 10 inches

limited edition of 30, signed and numbered

Inspired by Cheech & Chong for “Is This Thing On?” at Gallery1988: Melrose.

Scott Derby “Cheech & Chong” Framed

digital archival print

8 x 10 inches

limited edition of 30, signed and numbered

Inspired by Cheech & Chong

Brad Klaussen “Deliberate Distractions”

8 color screenprint on archival paper

18 x 24 inches

limited edition of 200

Inspired by Bill Hicks

Mark Welser “The Daily Show”

giclee print on archival paper

13 x 19 inches

limited edition of 20, signed and numbered

Inspired by The Daily Show

Mark Welser “The Daily Show” Framed

giclee print on archival paper

13 x 19 inches

limited edition of 20, signed and numbered

#1 of 20, Framed

Inspired by The Daily Show

Kevin Tong “Conan, WITH Strings Attached”

giclee print

9 x 12 inches

limited edition of 60, signed and numbered

Inspired by Conan O’Brien

Glen Brogan “Wet Hot American Summer” Framed

digital print

10 x 24 inches

limited edition, signed

framed

Inspired by Wet Hot American Summer

Mike Mitchell “Maraijuna Santa Claus”

giclee print on archival paper

16 x 20 inches

limited edition of 25, signed and numbered

Inspired by Zach Galifianakis

Todd Slater “Roll The Ugliness”

screenprint

18 x 24 inches

limited edition of 30

Inspired by Steve Martin

Derek Deal “Children’s Hospital”

screenprint

18 x 24 inches

limited edition of 100

Inspired by Children’s Hospital

ORIGINAL ARTWORKS:

NC Winters “Wisdom Of The Lama”

acrylic on paper, mounted to wood, and resined

14 x 17 inches

Inspired by Bill Murray

Travis Louie “Posehn”

acrylic on board

8 x 10 inches

oval frame with convex glass

Inspired by Brian Posehn

Dave MacDowell “Pryor On Fire!”

acrylic on canvas

18 x 18 inches

Inspired by Richard Pryor

Allison Reimold “Mr. Paul Reubens, A Loner And A Rebel”

oil on board and mixed media

24 x 18 inches

custom frame

Inspired by Paul Reubens

Ryan Jones “Dave”

oil on collage

36 x 48 inches

Inspired by Dave Chapelle

Lauren Gregg “Gallagher”

cel vinyl on wood

14 x 11 inches

Inspired by Gallagher

Andrew DeGraff “The Nephews Muscles”

gouache on paper

15 x 22 inches

framed

Inspired by Tim And Eric

Ellen Schinderman “St. Jeffery With A Rose”

hand-stitched cotton and silk on linen

14 x 14 inches

framed

Inspired by Jeffery Ross

Jeff Ramirez “Turd Ferguson”

This morning I followed a facebook post of a tweet of a link that was originally a blog post by beat maker/producer Blockhead.  The post was on his blog Phat Friend and, since I never knew that the blog existed and since I instantly liked what I saw him doing with the site, I decided to browse around and scope out what else he had going on.  What I found was crazy as all get out and is something that I have a feeling will be everywhere by tomorrow.  In fact, as I type this, it’s already spreading like swine aids.

Beyond an embedded video, all that Blockhead‘s post said was “I just saw this and I really have no words.  Just watch“.  That’s probably all that needs to be said but, as anyone who has read any decent amount of content on this site knows, I always have words.  This time, however, I’ll leave them until after the video.

Click here to view the embedded video.

This video was directed by Martin Usher and James Davis of Live That Life Productions and it is one of those rare Youtube parodies that is actually pretty awesome.  Unfortunately, this parody is bound to spawn endless sub-parodies because, no one can ever leave well enough alone.  You can follow James Davis on twitter at twitter.com/theejamesdavis.

Although this video is hilarious alone, it’s probably important to know that it is actually a parody of the video for “Hard in Da Paint” by Waka Flocka Flame.  If you are like me and you aren’t even interested in keeping up with a lot of this newer MTV rap bullshit, then you might not know of Waka Flocka.  I, admittedly, didn’t know who the fuck he was until after the fact, but this will definitely bring even more added attention to his career.  From what I’ve gathered, he is the son of Gucci Mane‘s fired manager Debra Antney.  As for his name, I still don’t get it or why he’s running around at the end of the original video screaming it out and sounding like Fozzy Bear.

Here’s the original  (I wonder which one will sell more on iTunes?):

Click here to view the embedded video.

Do you know the name Mike Birbiglia?  Sound familiar?  How about the guy in the pictures above?  Look like you may have seen him before?  That familiar name goes with that familiar face.  Same dude.  Yeah, he’s that one comedian that you accidentally stumbled across on TV.  It was probably on Comedy Central.  Maybe it was during one of their random standup marathons.  But, wait… there was something else about this guy… something that you’re trying to remember.  Oh yeah!  He was the one that was actually funny.  He was the one who made you turn to your roommate and/or significant other and say, “Woah!  Shit!  This guy is actually funny!  What was his name?  We have to remember this guy’s name this time.”

Comedy is like music for me.  The overwhelming majority of the time that I hear new mainstream music, I find myself wondering how anybody could think that shit is worth listening to.  The same thing goes for comedians and 80% of the time they aren’t even remotely funny.  Not unlike Nick Swardson,  Mike Birbiglia is one of those standups that creates material so solid that it’s been incredibly easy to watch his notoriety make a smooth rise over the years.  From the first time you see him, you know that he’ll be able to stand on his talent alone.  No smashing watermelons!  No, “super cool, ladies man” douchiness targeted to the young college crowd!  He’s more Neil Young than Alice Cooper.  More Jerry West than Allen Iverson.  No flash, just substance and he has that ability to come across like he’s actually talking directly to his audience.  That personal approach is something that I’m sure translates in his brand new book Sleepwalk with Me: and Other Painfully True Stories.

Do you want to see Mike Birbiglia perform live in Seattle this Friday, October 22nd?  How about a copy of his new book?  Do you want one?  How about a pair of tickets to the show and a copy of the book for free?  How about a brand new car, we pay off your school loans, and give you an all expense paid trip to Australia for you and 12 of your closest friends?

Slow down, pal!  You can talk to Oprah about the last few but, thanks to our friends at the Seattle Theatre Group, we can definitely handle the tickets and the book.
(you know how she lost all of that weight, right?  Baby unicorn blood.  She drinks it.)

Click here to view the embedded video.

THE PRIZE!

One winner will recieve:

-A pair of tickets to see Mike Birbiglia live at the Moore Theatre on Friday October, 22.

-A copy of Mike’s new book, Sleepwalk With Me

HOW TO ENTER

We like to change it up as far as how we hold the contests here, but this time we think we’ve finally made it “easy”

Working off the title of Mike‘s new book, we simply want you to answer the following question:

“What is one benefit of sleepwalking“

Just post your entry into the comment section below and we’ll pick the one that we like best and give you free shit.

The Fine Print:

Contest will end at 11:59 pm on Wed. October 20th.  All entries must be received by then to be eligible.

Enter as many times as you want.

Alright… good luck, jerks!

Purchase tickets through this link.
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Those of you familiar with Steve Martin‘s early career may remember his incorporation of the banjo in his routine.  Those of you who have continued to follow the legendary comedian closely up until this point, will know that Martin is one of the top banjoists in the game these days and has even embarked on multiple blue-grass tours, where’s he has continued to showcase his wielding of the instrument with proficiency.  Those who aren’t familiar with Steve Martin at all, are welcome to get the fuck off of my website immediately and return once you have acknowledged his genius through films like The Jerk, one of the best comedy films that has been or will ever be created.

A recent post regarding Martin‘s current banjo tour was posted on his official site, which continues to blend his love of performing musically with his comedic wit.   Here are the contents of that post, entitled “OCTOBER TOUR IDEAS LEAKED“

Here are the remaining dates for October, with more scheduled to be added in the future.

Keep track of future dates through HERE

To read our review of the Steve Martin Banjo tour in June 2010 CLICK HERE

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Neil’s “Hot February Night” LP features live audio documenting the comic’s opening slots for Tenacious D and is available now from Drag City records.

Make sure to catch Neil on tour as he supports the Tim and Eric Awesome Tour 2010.

Until then, catch him doing his live gags on any of the following dates:

Neil Hamburger

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To check out more of Ben’s illustration & comic work…
visit Summer2005comics.com NOW!