stand-up comedy
new 1219
sparked by : ann coulter on booktv, and then also
comic lewis black fundraise 12 24
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youtube channel routinely has late nite molologues, often politics
ABC’s late night star **Jimmy Kimmel** isn’t big on endorsements but he is endorsing a Democratic U.S. Senator for re-election, in something of a non-endorsement video he recorded criticizing the far-right Republican trying to unseat her.
Kimmel’s endorsement of Democratic U.S. Senator **Catherine Cortez Masto** of Nevada mocks her opponent, Adam Laxalt, an anti-choice, anti-LGBTQ Republican who joined with **Donald Trump** to lie about the results of the 2020 election.
Kimmel put it all another way: “unbalanced people don’t belong in the Senate.”
“Hi, I’m Jimmy Kimmel,” the video begins. “I know everyone has complaints about politics, Republicans complain about Democrats, Democrats complain about everything, let’s be honest.”
“But if there’s one thing I think we can all still agree on, it’s that unbalanced people don’t belong in the Senate.”
“And that’s why I am not endorsing Adam Laxalt and neither is his family. 14 members of Laxalt’s own family back his opponent, Catherine Cortez Masto,” Kimmel says.
“Why? Because they know him.”
“You know, that creepy cousin in every family no one wants to sit with at Thanksgiving? That’s Adam Laxalt.”
“The guy supports a QAnon wacko for Secretary of State. I mean, seriously, these people think JFK is coming back from the dead. I have some bad news for you, Adam. JFK isn’t coming back. And even if he did, he wouldn’t be voting for you.”
“Forget what side you’re on. Nevada needs a sane person in the Senate: Catherine Cortez Masto. I know her, we both went to Clark High School. She’s a good person, a hard worker. And guess what? Her family is voting for her.”
While he didn’t get into specifics in the 30-second spot, on nearly every issue Laxalt has taken a right-wing or far-right stance, including abortion, same-sex marriage, climate change, voting rights, and more. Laxalt even believes businesses have a right to not do business with LGBTQ people.
On Sunday Jewish Insider reported the “Laxalt campaign paid thousands to [a] political operative linked to Twitter account that denigrated Jews, women.”
“A Twitter account connected to former Laxalt staffer Michael Pecjak has compared abortion to the Holocaust and claimed that ‘Jews are not a religious sect and are a cult,’ among other comments,” Jewish Insider stated.
Kimmel’s endorsement of Catherine Cortez Masto comes just after Oprah Winfrey surprised some on Thursday when she endorsed Democrat John Fetterman for a U.S. Senate seat in Pennsylvania, over her protégé, Republican Dr. Mehmet Oz, along with a string of other Democrats she said she would vote for if she could.
Watch Kimmel’s endorsement below or at this link.
no lnx
Trump slammed for bizarre sexist rant about dishwashers
Written by Matthew Rozsa / Salon December 20, 2019
President Donald Trump claimed that women have complained to him about faulty dishwashers during a misogynistic rant about cleaning on Wednesday night.
“Remember the dishwasher? You’d press it. Boom! There’d be like an explosion. Five minutes later, you open it up. The steam pours out,” Trump said.
He added, “Now, you press it 12 times. Women tell me . . . ‘You know, they give you four drops of water.'”
The president also touted his administration’s achievements on “electric” — presumably energy-efficient light bulbs — claiming that “we’re bringing back standards that are great.” Trump appeared to suggest that his administration had created new regulations for dishwashers.
In late November, the Department of Energy announced that it was implementing a rule-making change that would exempt dishwashers from previous energy efficiency standards. In September, the administration said it would loosen standards for energy-efficient light bulbs.dishwashers in the home — and not men, too.
“Frankly this comment tells you a lot about how elite this guy is. And sexist,” former Sen. Claire McCaskill of Missouri said on Twitter. “He’s never run a dishwasher. And thinks only women do. Btw dishwashers today work great. Much better than they used to. What an idiot.”
Daniel Dale of CNN wrote, “Trump says that you used to press a dishwasher once and it was an ‘explosion’ and five minutes later steam would come out. ‘Now you press it 12 times. Women tell me.’ Women tell me.”
Molly Jong-Fast of The Daily Beast tweeted that “Trump’s weird obsession with dishwashers and low flow toilets is so incredibly soul crushingly on brand I can’t stand it….”
This is not the first time that Trump has mentioned household issues during his political speeches. Earlier this month, he told reporters at a White House press conference: “We have a situation where we’re looking very strongly at sinks, and showers and other elements of bathrooms where you turn the faucet on — and areas where there’s tremendous amounts of water — where the water rushes out to sea, because you could never handle it. And you don’t get any water.”
The president added, “You turn on the faucet, and you don’t get any water. They take a shower, and water comes dripping out. Just dripping out. Very quietly dripping out. People are flushing toilets 10 times, 15 times, as opposed to once. They end up using more water. So the EPA is looking at that very strongly at my suggestion.”
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STAND-UP COMEDY:
observational humor: andy rooney does curmugeon version? didj ever notice... // djt on efficiency, but imposed by mindless bureaucrats? he is a pseudo-populist, so pretends to share the aggravation/grievances of everyday real americans, but sits on gold toilet.
Jerry Seinfeld stereotyped for doing shopping cart jokes?
wages have been flat for decades, jobs outsourced, opium epidemic, so very real problems, but DJT offers no systemic structural analyis or real solutions, he'll just find the bad guy and punish them (slap on tariffs etc). your life will work better via his sharpie (get rid of burdensome regulations that slow down the economy, makes for fewer good mfg jobs b/c they went overseas where there are no regs[does the analysis argument go that far?]
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https://www.alternet.org/2019/12/how-different-are-sean-hannity-and-samantha-bee-a-media-scholar-explains-how-right-wing-outrage-and-left-liberal-satire-have-reshaped-our-world/
Written by Paul Rosenberg / Salon December 8, 2019
Sean Hannity and Bill O’Reilly are masters of outrage — not just the emotion, but a genre of political theater— just as Stephen Colbert and Jon Stewart are masters of ironic satire. They’re poles apart, and yet — ironically or outrageously — they’re profoundly similar, both in how they’re impacting their audiences, and why their genres emerged when they did. That’s perhaps the central thesis of “Irony and Outrage: The Polarized Landscape of Rage, Fear, and Laughter in the United States,” by Dannagal Goldthwaite Young, who’s both a professor in the Department of Communication at the University of Delaware and an improv comedian with the troupe ComedySportz Philadelphia. That’s among the many different hats she wears.
The idea for the book, Young explains, came from two decades of research on the effects of late-night comedy, and always encountering the same question: “How come your examples are all from liberal satire?” Of course, she also knew that the political talk genre was dominated by conservatives, and as she read the work of scholars who studied that genre the same way she studied satire, “I started seeing these sort of parallel tracks,” she recalls. “And that opened up this possibility that perhaps these are the natural genres to which each of these sides are drawn.”
I was hooked on her premise from the first time I saw her tweet about her forthcoming book, many months ago. Young had so much to say that I’ve split our interview in two: The first part focused on the book’s central findings, the second on a range of examples — mostly in pairs — that illustrate how her insights shed light on different facets of our political media culture, as well as facets of ourselves. The interview has been edited for clarity and length.
Your prologue talks about Samantha Bee bringing Glenn Beck on her “Full Frontal” show shortly after Trump was elected. What happened there, and why did you use it to open with?
I used Samantha Bee to open the book because she invited former outrage host Glenn Beck onto her show to have that sort of weird coming-to-Jesus moment, and I think it was actually useful for both of them. I am interested in what it reveals to us that Samantha Bee decided to invite Beck onto the show, and decided to go public with his line that she was turning into him.
I think her willingness to go there, and admit that, speaks to some of the themes I’m talking about the book. Which is that these are two genres that seem to be on two different planets — in terms of the goals and the internal spirit of the genre — but they’re not that different in terms of what they provide to their viewers.
I find Samantha Bee to be a particularly interesting example in the era of Trump, because it often seems that when you watch her show, she is authentically angry. She will use jokes intermittently, but many of her jokes are drawn not from irony, but from hyperbole, She does a lot of exaggeration-based humor, but you come away feeling her anger, and that to me puts her in a different category from some of her more mainstream counterparts.
That’s a way in which she’s not being satirical.
Exactly. The definition of satire I go with in the book is that it’s a kind of rhetoric that is playful and meant to induce laughter, but it aims at a target and it issues a judgment. That judgment tends to be not just at institutions, people or policies, but also at the society that has given rise to those. So I think she does that latter part really well. I think she is playful. But there are times when it feels that she is leading with her politics. I think that a lot of the most successful political satirists — successful in terms of their broad appeal — they lead with the laughter, they lead with the joke. And she is often leading with her politics. I’m not making a normative judgment on that, it just changes her categorization a bit.
The core of the book involves political and psychological issues, but you start off with somehistory that’s really crucial to set the stage. Our current political media environment began in the late 1990s, you explain, but the pattern was set more than a generation earlier. So how is that pattern expressed in the late ‘50s and ‘60s? How did it first emerge?
Once I started digging into this, I realized this really was the first chapter of the book, because there are things that we would consider to be the roots of, or the precursors to these dominant genres as we know them today. What was super helpful here on the right was the book by media historian Nicole Hammer, her book “Messengers on the Right” really traces this back through the 1950s.
She points to these radio show hosts that had these small followings, usually they were funded by sponsorships. They were almost like preachers — very fire-and-brimstone — talking about anti-desegregation movements, talking about how the United States needed to exit the United Nations.A lot of them were concerned about communists lurking inside the Supreme Court, or inside Washington and Congress. I’m talking about people like Clarence Manion and Dan Smoot. When you listen to these original broadcasts, they have a similar kind of clear, didactic, angry, imploring tone that is reminiscent of what we hear from our outrage hosts today.
These kinds of radio shows were really taking hold at the very same moment as our formative ironic satirists — those to whom we still refer today, and those to whom our top satirists today say, “They are the reason I got into this business” — when those individuals were engaging in their craft. We’re talking about the late 1950s into the 1960s, folks like Dick Gregory, Lenny Bruce and Mort Sahl who pioneered an entirely new spirit of social and cultural commentary that was quite radical, not even liberal but radical in its orientation.The fact that those two moments coincided was something that just seemed like — this can’t be just a coincidence, that this is how these two things are articulating themselves, and that they look so similar to what we witness today in our bifurcated cable landscape.
I was struck that the outrage on the right was specifically reacting to social changes they don’t like, they feel threatened by, while on the radical side these same changes are opening up and exposing contradictions in the status quo that they probe and engage with....
SNL used to often open with comedy monologue, even by stars who are not comedians?
roseanne barr
When Seinfeld ended in 1998, Richards returned to stand-up comedy. He incited media furor while performing at the Laugh Factory comedy club in late 2006 after a cell phone video was published of him launching into an expletive-laced racist tirade after earlier interruptions from a group of late-arriving audience members.[6] Subsequently, due to significant media coverage of the event he announced his retirement from stand-up early in 2007. He appeared as himself in the seventh season of Curb Your Enthusiasm in 2009, acting alongside his fellow cast members for the first time since Seinfeld's finale, as well as lampooning his incident at the Laugh Factory. In 2013, Richards returned to television when he played the role of Frank in the sitcom Kirstie.[7]...
2006 Laugh Factory incident
During a performance on November 17, 2006 at the Laugh Factory in Hollywood, California, Richards launched into a racist rant in response to reported heckling and interruptions from a small group of black audience members. Richards was recorded shouting "He's a nigger!" several times and making references to lynching and the Jim Crow era.[6][16][17][18][19] Kyle Doss, a member of the group Richards addressed, said the group had arrived in the middle of the performance, explaining:
[H]ere's what happened. As we walked in, we sat down and started ordering drinks. And, as we ordered drinks, I guess we're being a little loud, because there was 20 of us ordering drinks. And he said, "Look at the stupid Mexicans and blacks being loud up there." That's the first thing he said. And then he kept on with his bit. And, then, after a while, I told him, "My friend doesn't think you're funny." And then when I told him that, that's when he flipped me off and said, "F-you N-word." And that's how it all started.
— Kyle Doss, Interview on The Situation Room[20]
Richards made a public apology when he spoke via satellite on the Late Show with David Letterman, when Jerry Seinfeld was the guest, saying, "For me to be at a comedy club and to flip out and say this crap, I'm deeply, deeply sorry. I'm not a racist, that's what's so insane about this."[21] The audience initially laughed at Richards using the terms "Afromerican" and "Afro Americans" and during pauses in his explanation and apology; at one point Seinfeld rebuked the audience, "Stop laughing, it's not funny." Richards said he had been trying to defuse heckling by being even more outrageous, but it had backfired. He later called civil rights leaders Al Sharpton and Jesse Jackson to apologize.[20][22] He also appeared as a guest on Jackson's syndicated radio show.[23] However, both Doss and Sharpton have refused to accept Richards's apology, with the former saying "... if he wanted to apologize, he could have contacted somebody to one of us from the group ... but he didn't. He apologized on camera just because the tape got out."[22][24]
The incident was later parodied on several TV shows, including MadTV, Family Guy, South Park, and Extras. In an episode of Curb Your Enthusiasm, Richards appeared as himself and poked fun at the incident. In a 2012 episode of Seinfeld's web series Comedians in Cars Getting Coffee, Richards admitted that the outburst still haunted him, and was a major reason for his withdrawal from performing stand-up.[25]
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ADC
1970s
Clay began his stand-up career in 1978 when he auditioned at Pips comedy club in Sheepshead Bay, which turned into a headline spot at the venue the following week, billed as Andrew Clay.[13] He started with an act mainly of impressions, which included a character named "The Diceman" based on Jerry Lewis as Buddy Love from The Nutty Professor which transformed into John Travolta in Grease.[14] It took him three weeks to prepare the act.[2] A picture of him on stage during his early sets at Pips was described: "[Clay] In a baggy white shirt, pants rolled up to his knees and a pair of thick glasses", with a black leather jacket underneath the shirt so he could seamlessly switch to his Travolta character when the lights went out.[13] With his new act, Clay graduated to larger and more prestigious comedy venues including The Improv, Catch a Rising Star, and Dangerfield's.[14] He recalled his father being supportive of his act during one performance at the latter. "He knew it was different right off the bat [...] He saw it worked". The persona was more of a shock to his mother, but she got used to it and he recalled her laughing at his jokes.[13]
1980s
By 1980, Clay had relocated to Los Angeles and landed work at the Comedy Store, owned by Mitzi Shore, where he changed his stage name to Andrew Clay.[13][14] His sets were not an instant hit, and because of his dirty act and her unwillingness to have other comics follow him, Shore had Clay perform at late hours, resorting for him "to wait and perform for ten drunks".[13] In 1982, Clay landed his first film role, appearing in Wacko.[14] In 1983, Clay added the "Diceman" moniker to his name and no longer relied on impressions of other notable figures, instead creating an alter ego based on his heroes.[13][14] He first used the act at the Comedy Store after he was asked to fill in for a comic who cancelled their spot. He said: "I didn't have my Jerry Lewis stuff with me, so I just winged it, saying whatever popped in my head".[15]
His performances at the venue led to his first sitcom roles with appearances on M*A*S*H* and Diff'rent Strokes, and feature-length films, including Making the Grade (1984), Pretty in Pink (1986), and Casual Sex? (1988). A review by the Los Angeles Times critic Michael Wilmington described Clay's character in the latter, named "The Vin Man" and based on his Diceman persona, as "a macho bozo from Jersey".[13][14] From 1986 to 1988, he had a regular role as Max Goldman on Crime Story.[16] His act included a drum solo as a tribute to Buddy Rich.[2] Clay then pursued stand-up comedy full-time as the Dice character.
Clay's breakthrough came in 1988 when he performed at an all-male Big Brother Association dinner event with "all of Hollywood's royalty [...] dressed in tuxedos and I show up in a black leather jacket with a flag on the back that said 'Rock and Roll'". The set was a hit; the next day, 20th Century Fox offered him a film deal and entered talks with producer Joel Silver.[13][14] Also in 1988, Clay performed a seven-minute set at Dangerfield's in New York City for Rodney Dangerfield's HBO stand-up showcase special Nothing Goes Right, launching him into the national spotlight.[14]
In 1989, Clay was named Comedy Act of the Year by readers of Performance magazine.[14] In March 1989, he released his debut comedy album Dice, which went on to reach gold certification by the RIAA for selling over 500,000 copies in the US.[17][18] It peaked at No. 89 on the US Billboard 200.[19] In September 1989, Clay performed a three-minute set at the 1989 MTV Video Music Awards, which included his adult versions of the Mother Goose nursery rhymes. The incident led to MTV imposing a lifetime ban on Clay from appearing on the network.[20] The ban was lifted in 2011.
In December 1989, Clay performed two unadvertised, largely improvised sets at Dangerfield's, which were recorded for his second comedy album, The Day the Laughter Died, produced by Rick Rubin. Released in March 1990 on Geffen Records, the album sold 250,000 copies in seven weeks,[13][21] peaking at No. 39 on the Billboard 200.[19]
1990s
In February 1990, Clay became the first comedian to sell out two consecutive nights at Madison Square Garden in New York City,[14] totalling 38,000 people in attendance.[22] On May 12, 1990, Clay appeared on Saturday Night Live which became the fourth highest-rated episode of the season.[13] It was controversial as cast member Nora Dunn, put off by his sexist humor, refused to appear in the episode. Two days later, musical guest Sinead O'Connor cancelled her scheduled appearance in protest.[23][24]
Clay first met his agent Dennis Arfa at Dangerfield's, which led to his first HBO special, and ultimately his starring role in the 1990 film The Adventures of Ford Fairlane;[25] in 1991, he received a Raspberry Award for Worst Actor for his performance in the film.
In 1991, Clay ran his own production company, Fleebin Dabble Productions.[17] He is featured on the front cover of the April 1991 issue of Penthouse, becoming the second male to front the magazine after George Burns.[26] Footage of Clay's shows at Madison Square Garden was used to produce his 1991 stand-up concert film Dice Rules. His controversial act affected the number of venues that were willing to screen the film; it opened in 40 theatres nationwide on its opening day.[27] It was originally planned for 20th Century Fox to release it, but it dropped out over the controversial material, leaving it to be picked up by Seven Arts.[28] This was followed by the release of One Night With Dice that was filmed in 1986.[29] A sell out show at Symphony Hall in Salt Lake City in August 1991 was met with angry protesters outside the venue over his homophobic and hate material, during which police were called.[30]
In 1993, ABC dropped a proposed one-hour television drama which was to feature Clay after management deemed him too controversial for the network. Clay had signed a one-year deal with ABC which kept him from working with other networks.[28] In July 1993, Clay released No Apologies, the first stand-up concert pay-per-view special.[31] It was purchased by over 250,000 homes to become the highest grossing non-sports pay-per-view event of the year.[20] It was to feature Joey Buttafuoco but the plan was dropped following the publicity it attracted and upon the advice of his attorney.[28] Clay followed it with a second pay television special, The Valentine's Day Massacre, which aired in around 100,000 homes.[20] In 1994, Clay accepted more television roles.[20]
In 1995, Clay released an HBO special Assume the Position. That same year, he signed a development deal with CBS and producer Bruce Helford, resulting in his starring role on the sitcom Bless This House.[32] In mid-1995, Clay explained that the Diceman character had "sort of gone out of hand" which he felt happy about because it allowed him to pursue more television and film work than before. The situation led to a change in his stand-up act, focusing more on being a husband and a father yet still with an "edge".[32]
In 1998, Clay released the triple album Filth through his website. Later in 1998, Clay began appearing on the New York City-based radio show Opie and Anthony. Clay's opening act at the time, Jim Norton, became the show's co-host in late 2000.
2000s
In 2000, Clay released I'm Over Here Now and Banned for Life.[33][34] Later in 2000, he released Face Down, Ass Up. He supported these with a nationwide tour that included a headline show at Madison Square Garden, ten years after his two sold-out performances.[35]
In 2005, Clay signed a deal with Sirius Satellite Radio to broadcast his own show, Out of the Cage.
In 2007, he attempted a comeback with the reality TV series Dice: Undisputed on VH1, which lasted seven episodes.[36]
He appeared as a part of NBC's The Celebrity Apprentice 2 and was the first celebrity to be fired, after he openly entertained the idea of quitting while in Donald Trump's presence and calling Trump "Donny Trump". On The Howard Stern Show, Clay had stated that the show was edited to exclude situations where Trump treated Clay poorly based on his comic treatment of women rather than his accomplishments.[37] Throughout the season, each celebrity was raising money for a charity of their choice; Clay had selected StandUp For Kids.[38]
2010s:{:(style="margin-right:0.25em"):}:[edit:{]}:
In July 2011, Clay was featured in the eighth and final season of Entourage as Johnny Drama's co-star in the fictional program Johnny's Bananas.[39] Clay also appeared as himself in the Entourage film. He appeared in an episode of Raising Hope as himself which aired on November 29, 2011.
In 2011, Clay placed number 14 in Complex Magazine's "The 15 Worst Stand-Up Comedians".[40]
In May 2012, Clay appeared on *The Joe Rogan Experience* podcast and also did a set atThe Bamboozle festival in Asbury Park. In December 2012, Clay had a stand-up comedy special on Showtime entitled Indestructible.
In May 2013, Clay began a podcast with Michael Wheels named Rollin' with Dice and Wheels...The Podcast. It ran for 46 original episodes, the last of which was released in December 2015.[41]
Clay appeared with Cate Blanchett in Woody Allen's Blue Jasmine, which opened on July 26, 2013.[42] In an interview with Good Day L.A., Clay stated that, as he had not been in a movie in 12 years, "It was a thrill to do something dramatic, something I've always wanted to do."[43] His performance was critically praised.[44]
In July 2013, Clay signed a book deal with Simon & Schuster for a memoir to be co-authored with David Ritz.[45] In November 2014, Clay released his book The Filthy Truth.[46]
In 2015, Clay hosted The Blue Show, showcasing some of his favorite blue comics, which was released on Showtime.
In 2016, Clay had a guest role as a record executive in the Martin Scorsese/Mick Jagger-produced television series Vinyl for HBO.
In 2017, Clay competed with his wife in the Fox reality cooking series My Kitchen Rules.[47]
In September 2018, Dice launched his new podcast I'm Ova Hea' Now on the GaS Digital network.[48] Later that year, he appeared as Lorenzo in the musical drama film A Star is Born, alongside Lady Gaga and Bradley Cooper, playing Gaga's character's father. Clay beat out several high-profile actors for the part, including Robert De Niro and Ray Liotta, and his performance went on to receive positive reviews, as did the film itself.[49]