Monty Python just created an original YouTube channel. Here’s the announcement, pointing out how regularly their classic sketches made it to the video site, and then concludes with a funny but not unsubtle appeal to people’s better natures to buy the stuff if they like it so much.
The sketch group was an early adopter the web, so I’m a little surprised that they didn’t do this sooner. But naturally, when they do it, it’s done right: putting up the definitive versions of their sketches at the best quality possible. And the commercial inducement is actually restrained, not mentioning the recently released Flying Circus Megaset, which happens to coincide with the launch of the YouTube channel. (Note: I am not so shameless.)
So far there’s about 20 sketches, plus clips of what look to be new interviews (probably for said megaset) and some home movie stuff. Included in that 20 are pretty much all the usually suspects including Argument Clinic, Ministry of Silly Walks and the Black Knight. They’re definitely aiming for the stuff with mass appeal (and, as suggested, the oft-uploaded).
Of course, if you didn’t know the exhaustive amount of material produced by the Pythons, this short clip featuring Eric Idle talking about the difficulties in the writing process with three of the Pythons, you might wonder if the channel had anything at all.
Things have been a little quiet on the blog as of late. I have every intention of changing that. Here’s what’s up:
First, I’m welcoming Julie Seabaugh, who not only knows stand-up but has a strong opinion about it that she can back up. She used to publish the web magazine Two Drink Minimum, which was one of my own inspirations for creating Dead-Frog. You’ll notice that she’s already posted her recent review of Mike Birbiglia’s “Sleepwalk with Me.” She’ll be posting on the site as often as she likes. I’m looking forward to reading what she’s got to say.
I’m hoping that Julie’s posts will inspire some back-and-forth between her and I, letting Dead-Frog cover comedy more broadly as an art form. I pride myself on being authoritative but without being authoritarian. I’ve always wanted Dead-Frog to be a vessel for more voices than my own. Now is as good as anytime for that to start.
Second, I’ve become a bit obsessed with the programming aspects of the site. There are things I want to do with the site more than just talking about my thoughts on the funny stuff out there. And they take time to develop, design and code. In my interest in pursuing them (and a living), I’ve really slacked off on keeping the life blood of the site going - the blog. I’m embarrassed I have to write that, so my desire to avoid doing so ever again should help me be a bit more frequent poster.
Still, following from Julie, I’d like to add a couple of bloggers. Since both Julie and I are in New York City and I don’t see that changing anytime soon. I’d like to get a regular poster who can talk about comedy in Los Angeles and another who’s up on Chicago. From a pure territorial perspective, that’s what I think Dead-Frog needs.
But I don’t want to “fill a coverage hole” - I want people who respect comedy as a art form but still laugh like demented chimpanzees. So if you’re interested in blogging for Dead-Frog, . If you live in one of two areas I mentioned, so much the better. But whatever the case, tell me what you think Dead-Frog needs and why you’re the person to bring it. I welcome any and all insights into this little site.
It’s been four years in the making, including a debut at this year’s Just For Laughs festival and a recent “Sleeping While Standing” fine-tuning tour, and yet, as previews for Mike Birbiglia’s Off Broadway one-man show come to a close, the self-effacing comic readily admits he’s still working on the stage equivalent of a final cut. Longtime fans of the Comedy Central and Bob and Tom fave have come to expect such perfectionism from his stand-up, a trait now underlying each measured pause, painstakingly controlled rise and fall of pitch and endearingly befuddled utterance of trademark phrases “I knooow!” or “Oh! No!” And while he’s grown away from a more sarcastic style over the course of four albums, here Birbiglia delivers his most cohesive and introspective material yet.
Sleepwalk is partially comprised of established bits revolving around the theme, as the title implies, of the writer/solo performer’s battles with REM behavior disorder, which causes a person to physically act out their dreams, occasionally resulting in injury or worse. Bridging the gaps, Birbiglia utilizes the storytelling chops most recently featured in April’s What I Should Have Said was Nothing DVD to bring conjoining themes of romantic commitment and father-son bonding into the mix. Though it may be difficult for some to follow the diverging plot threads’ chronology and there are no outright applause breaks, the laughs per minute are strikingly high, particularly for frequent callbacks. He’s animated when it matters, just as he’s quietly – even deathly – solemn at key moments, and longtime fans in particular will delight in mentions of Birbiglia’s brother Joe, as well as a few moderately threatening bears.
Overall, Birbiglia brings no huge surprises to a performance he could essentially do in his sleep (pun intended), but great use is made of a minimal set (blue backdrop, stool, The Promise of Sleep medical reference) and key behind-the-scenes contributors (director Seth Barish, producer Nathan Lane). It’s a compliment to say he delivers nothing more than what is expected of him – that is, a unique, ever-evolving performer who consistently raises the bar for young comics everywhere.
The past couple of days have seen more than a few stories talking about how the new incoming Obama administration will not be great fodder for American’s comedians. But any one of those who talk about The Daily Show hasn’t been watching the show for the past eight years. Because while George Bush was a frequent target for the show, an almost equally bigger target has been the mainstream media which asks questions like, “Can ‘The Daily Show’ survive Barack Obama?”
Modern news, with its obsession with balanced punditry, data overload and technological tricks isn’t going anywhere. Anyone who watched CNN coverage last night where Wolf Blitzer talked to Dana Bash via “holographic projection” knows that the news media will give the Daily Show plenty of grist for building jokes in the future. The only question I have is if Comedy Central will give the Daily Show the budget to make fun of such brazenly inane technological innovation.
This is a guest post from Matt Ruby, a New York City comedian who blogs over at Sandpaper Suit. He is the cohost of “We’re All Friends Here,” the comedy chat show/podcast with boundary issues.
Why am I excited for an Obama presidency? Because it means I won’t have to sit in the back of another NYC alternative comedy show watching some 20-something white dude who dreams of being “the next Bill Hicks” spout off on how lame McCain and Palin (or Bush/Cheney before that) are.
Oh really, you mean you DON’T think Sarah Palin is smart? And you think she talks funny? And John McCain is old? Thanks for the news flash.
This is lame because:
What’s the point of making fun of Republicans in the East Village? Everyone here already gets it and is on the same page.
Stewart and Colbert have this beat covered pretty damn well. If you’re not bringing a fresh perspective, what’s the point?
Who wants to hear a kid talk about politics anyway? Watching someone without life experience talk about politics is like listening to a virgin explain how to fuck.
I get that this guy wants to be “edgy.” But walking into a room and telling everyone there that what they already think is right is not edgy.
Edgy is telling audience members why something they think is wrong, or missing the point, or stupid. It’s presenting a new point of view, not just confirming preexisting ones. You wanna be edgy in a NYC alternative room packed with liberals? Make fun of NYC alternative/liberal crowds. (There’s plenty to mock on both sides of the fence.)
Some examples:
Greg Proops, in Houston, making fun of country music and the people who attacked the Dixie Chicks (audio). He also goes after “God is on our side” types and Rush Limbaugh in other parts of the set.
Bill Burr telling the entire city of Philadelphia why he thinks they’re a bunch of “stupid Philly cheese-eating fucking jackasses” (video).
Todd Barry, at a show in Cambridge, Boston, calling out a “narrow-minded fake liberal fuck” for stereotyping the south (audio, starts 1:29 in).
Paul F. Tompkins telling a UCB LA crowd why he hates the odd pets of “crazy hipster alternativo types” (audio).
Chris Rock, in his classic “Niggas vs. Black People” bit, telling a roomful of black people why he hates “niggas” (video, starts 10:18 in).
(Some of those are obviously edgier than others but you get the point.)
Bottom line: If you want to be edgy, don’t come into the lion’s den and make fun of the zebras. Come into the lion’s den and make fun of the lion. That takes real balls.
You can see “We’re All Friends Here” live tonight (Thursday, Oct. 30) at 8pm at The Slipper Room in NYC (show details).
MTV launched a massive Hulu-style music video website earlier this week and it’s pretty great if you’d like to go study that 80s-90s art form (not so much now, right?). But with my interest in the funny, I had to go through and see what comedians are on there. Setting punchlines to music is real dangerous. Watching these will make you appreciate Zach Galifianakis and Demetri Martin all the more. This will probably be the most painful post ever to view in its entirety.
Sam Kinison’s “Wild Thing”
I suppose this one is debatable, but to me this was the biggest sign that Kinison was starting to diverge from the shock and surprise of his screaming to making it all about the screaming and the revenge that went in tandem with it. There’ are no setups in this, just the punches.
Rodney Dangerfield’s “Rappin’ Rodney”
I’ve always throught of Rodney Dangerfield as kind of a transitional comic - one who clearly had borscht belt influences, but who took that rapid-fire gag machine and combined it with the persona driven act of today. It never felt creaky. Except right here, when Rodney one-liners are meant to be a rap.
Jeff Foxworthy’s “Party All Night”
Even when this was made in the early 90s, I don’t think anybody had thought of Foxworthy as a comic with much to say about single life. Wow, look, punks dancing to country music! That’s crazy! Hard to believe it was directed by Weird Al.
Hey, isn’t that Todd Glass as a cop at the end?
Howie Mandel’s “Watusi”
I had never seen this one before, but good Christ is it horrific. It fits his trademark prop-tastic nonsense style, but the non-sequiturs lose even the semblance of charm when set to music. I tried to watch a second time to give a more detailed thoughts, but I just can’t get through it.
Funny thing: Chris Rock also had a video on the new MTV site (and not for “No Sex in the Champagne Room") but when I went looking for it to write the post, it was gone. Definitely a sign he’s got good management.
I recently stopped by the radio show Comical and talk a little about comedy nerds, joke stealing and who the heck I am anyway. You can listen to my segment right here.
Susie Essman: "I don't get heckled that much. Most hecklers are men... When I'm on stage, I'm in control and I don't think men want to be humiliated by a woman. Where with other guys, it's a mano y mano thing, with me I don't think they want to go there." (AintItCool)
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