Showing posts with label David Cross. Show all posts
Showing posts with label David Cross. Show all posts
Tuesday, May 19, 2020
Top 19 -- David Cross: Shut Up You Fucking Baby
On Facebook I was asked to list my top ten all-time albums that most influenced me. Since I can't list anything without a huge explanation, this is it. Not only that but I'm writing about my Top 19 instead of my Top 10.
Here's what I wrote on Facebook today, "Here's another quick story: first off, this is a comedy CD. Secondly, when I bought it in the spring of 2003, I was familiar with David Cross (mostly from the seminal sketch show, "Mr. Show with Bob and David") but I didn't know his stand up act. I think that I listened to this CD front to back, probably 10,000 times. It crystalized everything that I was thinking (politically) at the time. And not only was Cross able to pinpoint exactly what was wrong with the country at the time, but he was able to do so in an uproariously funny way. If you haven't heard it yet, do so; "Shut Up You Fucking Baby" is the best."
2002 was a weird time. We were still really scared about terrorism, the year prior the towers came down and we started fighting in Afghanistan. The Bush administration was taking away our freedoms in exchange for our safety and his conservative cronies were clamping down on America and trying to turn the country into their vision.
For the most part, no one really said anything. The reason was that there was so much patriotism, you worried about being labeled a traitor if you brought up that maybe the White House shouldn't be torturing prisoners or maybe we shouldn't be killing innocent people or maybe letting the President and the Vice President do what they want whenever they want however they want might be kind of shitty and maybe all of this flag waving, rah-rah, 'MERICA FUCKING RULES jingoism isn't really the best road to go down.
Aside from a few comics, like Jon Stewart, this was some thoughts that were just bubbling under the surface. I heard them, and they started to germinate in my brain. But I wasn't completely on board until I heard "Shut Up You Fucking Baby".
Let me step back, for the most part, I've identified myself as an Independent. However after listening to Cross, the idea that any Republican had my best interests in mind went out the window. This double album was scintillating. The way that Cross railed against the people in power--specifically the Republicans--and how they were using 9/11 as a cover to loot this company and reshape it into something that resembled the 1950s was absolutely astounding.
Cross is able to deliver his message without sounding preachy. There is a thin line between comedy and whining. Cross never jumps over that line. He comes close some time, but he always slams it home with a joke. I have all of his concert albums and I've seen him live at least three times--like I said he's my favorite comedian--but nothing that he has done compares to this two-disc set. He's still awesome, but he's not as transcendent as he was here. That's a high bar to reach, BTW, I don't expect him to do so.
After listening to this album, it became obvious to me that David Cross wasn't just the guy in the t-shirt and cargo shorts who stood next to the suit-ed Bob Odenkirk on Mr. Show. David Cross was a firebrand who spoke truth to power. This album literally shaped the way that I viewed public figures for the rest of my life. I haven't listened to this album in a long time, but I should revisit it. I didn't think that things could get much worse than the G.W. Bush administration, but it obviously has.
I think that I need to listen to this again.
Labels:
Bob Odenkirk,
David Cross,
Jon Stewart,
Mr. Show,
Shut Up You Fucking Baby,
Top 19
Thursday, May 14, 2020
Top 19 -- Cake: Fashion Nugget
On Facebook I was asked to list my top ten all-time albums that most influenced me. Since I can't list anything without a huge explanation, this is it. Not only that but I'm writing about my Top 19 instead of my Top 10.
This is what I wrote on Facebook: "I never lived in Los Angeles. I wanted to do, but I was too chicken to move across the country after I graduated college. Even though this band is from Sacramento, for some reason this album's sound seems like it would be the soundtrack from the mid-90s LA. I have no idea why I think this, I just do."
I've always been really interested in TV and movies. I've also been interested in writing. What I wanted to do more than anything in the world was to graduate college, move to LA and see if I could become a TV or movie writer. It never happen. The reason, which I explained above is because I was too chicken. I had a ton of excuses, "I'd my miss family and friends", "I wouldn't know anyone", "How would I get out there?", "How would I find a job, a place to live, etc?" but all of those questions boiled down to me not having the stones to go out there and try my luck as a writer or a comedian or something interesting.
Instead, I played it safe and worked at jobs that, other than the newspaper, I really hated. I wasted a lot of time in my 20s just kind of finding myself. And while things worked out really well, it took a long time to get where I'm at. Which, I guess it's all about the journey, but some journeys are more exciting than other.
How does Cake play into this? When I think of this band and their eclectic sound, I feel like this is the band that would be playing in LA dive bars, trying to make a name for themselves. The band that the cool people knew about before Cake broke big with "The Distance". And I think that it would have been cool to be a part of that scene.
The other day I listened to a podcast (Movie Crush) with comedian Scott Aukerman and he came of age as a writer during the time and he was reminiscing about the mid-90s LA scene and it sounded like what I've thought it was like. He had a crew of young comedians (Patton Oswalt, Brian Posehn, David Cross, Sarah Silverman) that he worked (at the coolest show on TV, "Mr. Show") with and hung out with. Every afternoon they'd call each other and determine which bar they were going to hang out at and then spend the night talking and making each other laugh. It sounded awesome.
Anyway, when he was telling this story this album was the soundtrack that I was picturing playing in the background. It's weird to feel nostalgic for someone else's past.
In any event, I knew of Cake from the aforementioned single "The Distance" which was got really big at the end of the summer of 1996. And that sparks a different kind of melancholy in me, as that is when it began to dawn on me that summer was over and a. I had no real job (I was delivering pizzas) and b. I was never going back to school. Suddenly the summer was over, my friends were working and moving on with their lives, I was broke, alone and living in my parents house and I that depressed the hell out of me.
I sort of forgot about Cake until the end of the decade when I started watching the reruns of the little-seen, but awesomely great WB cartoon "Mission Hill" on Adult Swim. The infectious theme song is an instrumental version of Cake's "Italian Leather Sofa". Once I figured out where I could find the song, I went on a mini Cake obsession that ebbed over the years. The last time it bubbled up was around the time when Giuliana was about seven months old and the new Cake album came out.
So now instead of missed opportunities and other people's nostalgia, Cake reminds me of moving to Burlington and the first year of my first child.
Tuesday, February 22, 2011
23. Tom Goes to the Mayor
Humor is a funny thing. There are those who think that humanity has some sort of skeleton key when it comes to making people laugh. Everyone loves a good knock-knock joke or an episode of “I Love Lucy” or seeing some guy get hit in the balls, right? Wrong. Two out of the preceding three aren’t funny at all, and three out of preceding three aren’t funny if you’re the guy whose balls are being hit.
Where do people get the idea that most humor is universal? I suppose that it comes from comedians who entertain large audiences or the communal viewing of a funny movie. If both examples are good, the majority of the crowd laughs together creating a sense of community or a veneer of shared comedic mores. People walk out of the theater or show assuming that all would enjoy what they just witnessed because the entirety of the crowd enjoyed it. It’s not that simple. For one thing, both of these groups are small sample sizes. And chances are good that if you go to a movie, you have a pretty good idea of the type of humor you’re about to see and thus you’re predisposed to liking it. And you're not the only one.
If I ever go to a Scary Movie-type flick, it’s because I was forced at gun point. Even if everyone is laughing around me, I doubt that I will crack a smile. And that’s because those movies aren’t my type of flicks. I'm not part of the overall audience reaction because I don't want to be part of that audience in the first place.
The same is true if you pay money to see a comedian.* A year or so ago my friend and I went to see David Cross. Cross is my favorite comedian of all time and there was no way that I wasn’t going to laugh. I laughed a ton (he really was legitimately funny) and I walked out of the Wilbur Theater saying that that was the best comedy show I’ve ever seen.
* The one exception to this is if you go to an open-mic night at your local Chuckle Hut. You have no idea what you’re getting there and if there’s a truly original comedian who galvanizes the crowd, that’s more of an exception than the rule. Many times, a new comedian is just cribbing off their comedy idol until they can find their voice. If the comedian worships at the feet of Jerry Seinfeld, you’re going to get some observational humor that might be clever at times. If you dig that sort of thing, you’ll like the comedian.
Establishing that different things makes different people laugh is hardly the revelation of the century. It's whether you tell people that you find something funny that the majority of folks don't that's the trick. You may find watching a handicapped or elderly person slip and fall on an icy street gut busting. Or you might be the type of person who enjoys a good Hitler joke now and then. But you're not going to tell anyone that you like these things. Why? Because you look like a complete sociopath and no matter how you explain why you think these things are funny, you're just digging a deeper hole for yourself.
This brings us to “Tom Goes to the Mayor” (TGTTM), which was created by comedic team Tim Heidecker and Eric Wareheim. If you’ve never seen it before, and chances are you probably haven’t, and that's a shame because it's a sublimely funny show. It began it’s run in late 2004 and lasted about two years (30 episodes) on Adult Swim. The basic plot of every 15-minute show is the same: local entrepreneur Tom Peters (played by Heidecker) stops by the Mayor of Jefferton’s (Wareheim) office to pitch a new money-making idea to him. The ideas are usually insane and aren’t grounded in reality, but the Mayor (and that’s his only name) usually loves the idea, agrees to go with the scheme and ultimately ruins it. It almost always ends poorly for Tom. Yet he's there week after week, pitching to the Mayor.
The show had it’s own unique form of animation, it’s hard to describe so I’ll let Wikipedia do the describing for me:
“The show features a crude yet distinctive limited animation style which is made by taking photos of the cast with different facial expressions and body language. The photos are filtered using the "photocopy" image filter in Adobe Photoshop, so that they are made up of only monochromatic blue and white, resembling mimeographs. There are some live-action scenes, usually on a television set within the show.”
It takes a bit of time to get used to the way the show is animated, but once you do it doesn’t even matter. The strength isn’t in the animation, it’s in the stories as Heidecker and Wareheim both have very broad senses of humor that works on multiple levels. They will take a comedic trope, amp up the action and at the same time make fun of the cliché. For example, if Tom gets hit in the testicles they will show that action to get a laugh from that (because seeing a guy getting hit in the balls is never not funny) but the duo will often over-exaggerate the action by having the actors mug wildly for the camera. The shots themselves will be lampooned and the dialogue and the resulting plot will also be ripped apart. What happens is that you’re laughing at the action itself and you’re laughing at the people who sincerely find this stuff funny.
It’s the ultimate form of having one’s cake and also eating it.
This is sort of a hard thing to explain while watching the show and is why my wife or 99% of my friends has never heard me talk about it—much less seen an episode, even though it’s one of my favorite shows. And while this isn't a show about Hitler jokes or poking fun at the handicapped, it is a show that if a viewer doesn't understand, it will result in a raised eyebrow at you. "You find this funny? Really? How could you? This show is too fucking weird. What the hell else is wrong with you?"
Ultimately, it's just easier not to say anything.
At first blush, it’s a strange show—though not as strange as classics as MTV's “Wonder Showzen”, “Tim and Eric, Awesome Show Great Job!” (created by the same Heidecker and Wareheim that created TGTTM) or any of the Kroft shows from the 70s. The show has a love it or hate it quality to it. If you love it, you really love it. And if you hate it, there is no amount of explanation by anyone to get you to tolerate it*.
* According to Wikipedia, Adult Swim fans hated this show so much they thought that the network was pulling a prank on them. When it was revealed that this wasn’t a prank, they flooded the AS website and message boards with complaints.
What drew me to this show is that it was produced by Bob Odenkirk. Odenkirk is the same guy behind one of my all-time favorite shows, “Mr. Show With Bob and David” and has a comedic resume of awesome projects a mile long. I figured that if he was involved with the show, I should at least give it a go. And I’m glad I did. Not only does Odenkirk make sporadic appearances, but it is a who’s who of mid-90s alternative comics: Cross, Sarah Silverman, Patton Oswalt, Brian Posehn, John Ennis, Michael Ian Black, Zach Galifianakis, Janeanne Garofolo and Tom Kinney. Also Jeff Goldblum, Garry Shandling, Jeff Garlin, Michael Cera, John C. Reilly and others make appearances.
I’ve often wondered exactly what the guests thought when they read the bizarre scripts and whether they were in on the joke or just there for a pay day. I have to think that this show didn’t pay that much and the exposure was small, so they had to be there because they thought the stuff was funny. In a way that makes me respect the people who took the chance and appeard on this show much more.
“Tom Goes to the Mayor” ushered in a new kind of show for Adult Swim. While it still had the comedic sensibilities of the four original shows, it also strayed away from what made the channel interesting. And while those shows did depend on a level of pop culture IQ (which it turned around and skewered), meta-humor and bizarre plots, TGTTM raised the bar a bit higher and made viewing a bit odder, a bit more uncomfortable. This uncomfortability humor was new-ish to the American airways when this show made its debut. Yes, the American version of "The Office" had been on, but it was hardly a hit. And the British version of the same show was still something that only a relative handful of people had seen.
So while it was easy to talk to my friends about anthropomorphizing food stuffs pulling pranks on each other, it’s a rare person that one can talk to about a guy trying to match dogs for marriage by sniffing their asses.But if you can find any of the episodes on YouTube, or if Adult Swim runs them in the future, set your DVR and check them out they’re well worth your time.
Rats off to ya, everyone!
Tuesday, April 13, 2010
Hit Me Orsillo One More Time
This was originally published on the new Sons of Sam Horn.com site. You can check it out here and get a lot of cool Red Sox news too. It's going to be a great site, you should bookmark it.
Every Red Sox season there seems to be one commercial that runs constantly during the baseball season. After the third out is made; there is a one-in-four chance that you're going to see this ad and even though you can recite the copy by heart, you're going to watch the entire thing.
The good thing is that it changes from season to season.
The most popular ad ran at the beginning of the decade: the infamous Foxwoods commercials*. You remember that one, don't you? “Take a chance, make it happen. Pop the cork ...” The first time you saw it, you sorta liked it. It had a swinging beat that invoked memories of the spring of 1998 when the country was briefly obsessed with swing music. It was inescapable, as the melody got inside your head and rattled around your brain for a few days.
But you loved it.
After about the 100th time, you began to detest every fiber of its being. You hated the first note, you hated the tag “Meet me at Foxwoods! FOX-WOODS!”, you hated that smiling jerk begging you to forfeit your hard earned money on games of chance. Not only did you want Foxwoods to burn to the ground, but you wanted the entire state of Connecticut burnt, its fields salt and its men castrated.
However, by mid-July, something funny happened. Not only did you fall back in love with the ad, but you couldn't face your life without it. That smiling jerk was your new best friend. You were practically hocking your mother's lungs to get a few bucks to blow in Connecticut. You wanted to meet everyone at Foxwoods. FOX-WOODS! A Red Sox game without the Foxwoods ad was like an autumn day without orange leaves.
* John Pizzarelli is the singer of those old Foxwood ads. As you may recall, in the late 90s and early 2000s these commercials were insanely popular. Pizzarelli was not some studio hack or an actor who lip-synced the tune. This guy is a lounge singer without a lot of fame. He took full advantage of this uptick in his popularity and began closing all of his performances with the Foxwoods theme. It was like his “New York, New York” or “Stairway to Heaven”.
I understand where Pizzarelli is coming from. He was an F-list lounge act who made it (relatively) big in New England and New York. But to close your show with a jingle? Even for someone who sings other people's songs, isn't this a bit tacky? Before fronting Pearl Jam, what if Eddie Vedder was a struggling jingle writer who hit with the Oscar Meyner wiener song. Would you want to see him close every Pearl Jam show with that? (Actually, now that I mention it, I would like that.)
ANY WAY, my point isn't to wax nostalgic about John Pizzarelli and Foxwoods, my point was to talk about the new crop of commercials that have been airing on NESN and their unlikely star:Don Orsillo. He has the distinction of being the first person (at least that I can recall) to be in two different ads for two different products that will probably end up being the soundtrack of the 2009 and 2010 summers.
It all began last season when Red Sox announcer Don Orsillo began to pop up every other inning with ancient Boston knuckler Tim Wakefield. The duo were engaged in a spirited one-ups-menship of who could out-Red-Sox the other. Throughout the ad, each guy would buy something from the Red Sox team store that would inevitably prove their Boston allegiance while at the same time shaming the other person for not sharing the same rabid fandom. Hats and shirts were the opening gambit until Orsillo pulled out the big guns and donned (no pun) a Sox jacket.
Admit it, you gasped the first time you saw this commercial. It was an expensive and outlandish piece of Red Sox gear, clearly there was no way that Tim Wakefield could ever hope to outmaneuver our hero.
Ho, ho, ho! But the ever-crafty Wakefield had the trump card, a Sox water bottle which proved that the was the joke was on Orsillo—or “announcer boy” as the triumphant knuckleballer condescendingly called him. The dejected play-by-play man realized that not only was Wakefield the better Sox fan, but the more practical one too.
Lackey and Orsillo
This year's 30-second passion play has our hero chancing upon newly acquired John Lackey (presumably) in the Red Sox' spring training locker room*. It seems that Lackey has found a map of Massachusetts and can't make heads or tails of this crazy state.
* I say presumably because it looks as if Lackey could be in a bus station. But why would Orsillo and Lackey be in a bus terminal? Has Lackey had it with Boston already, did management send D.O. to talk him our of leaving baseball? The fact is, I like it better that they're in a bus terminal, let's have that be our own little addition to the commercial. It gives the men and the ad a bit more depth, sort of lends an “Urban Cowboy” type of gravitas to it.
Orsillo begins explaining the intricacies of the state to Lackey who is growing more and more befuddled as the spot nears its ending. Finally Lackey gives up trying to “get” Massachusetts and Orsillo seems to have thoroughly confused HIMSELF, despite being born, going to college and working in the state for most of his life. Cue the sad trombone.
What strikes me most about these commercials isn't the snappy writing or the witty rapport between athlete and announcer, it's how far Don Orsillo has come since he started in 2001. That was his first year as the lead Sox announcer and it looked as if he was pushing the current play-by-play guy, the well-liked and insanely connected Sean McDonough, out the door. In conspiracy-mad Boston this was because McDonough was “too tough” on the Sox, he and partner Jerry Remy were having a bit too much fun in the broadcast booth and worst of all, McDonough was “calling it like he saw it” without a filter.
It was widely assumed that Orsillo was being brought in to be the anti-McDonough to rein in Remy and be more laudatory towards all things Boston. McDonough was simply a loose cannon, while Orsillo was more of a professional. In other words, he knew who his bosses were.
His big-league career got off to a shaky start as new acquisition Hideo Nomo no-hit the Baltimore Orioles in only the second game of the 2001 season. The last inning was simulcasted nation-wide on ESPN and Orsillo was obviously very nervous. All anyone could talk about the following day was the low-key call on the final out.
“He has no hahht!”
“Orsillo's got no passion, no personality!”
“This guy's a robaht! Typical Sawx.”
Orsillo took a lot of guff from the fans (as the above made-up cliches show) and from some of the media. They may have been a bit angry that McDonough got the shaft. It should be remembered that McDonough was the son of the Godfather of Boston sports reporting, Boston Globe columnist Will McDonough. Also during that time period, McDonough had his own daily radio show that included a revolving panel of Boston writers. He certainly had a legion of supporters.
As one season bled into another, Orsillo began to loosen up more (with the help of Remy) and the worm began to turn a bit. No longer was he referred to as the Orsillo-bot 3000 (ok, maybe me and the guy whose quote I made up were the only ones that called him that) and I think that people began to like the guy more as they grew more familiar with his cadence and the way he called games. And while he leaned on Remy to bring out the chuckles in the early part of his career, it seems that in the last season or two he learned to bring the funny himself.
This was most evident last season when he was paired with 10 different color commentators while Remy took most of the summer due to health problems. There was some good (Dennis Eckersley being the best example) and a lot of bad (Dave Roberts, Frank Viola, Nick Cafardo), but Orsillo was the guy holding the ship together. When paired with Eckersley, the duo had an excellent chemistry that was better than the one Orsillo has with Remy.
All of this leads back to my original question: just how did Don Orsillo go from a guy who was pretty much reviled to a guy that's making the season's most enduring commercials? And how did he go from being the Orsillo-bot 3000 to being “the funny one” in these ads? Watch these ads again, he's the Lou Costello to Tim Wakefield's Bud Abbot, he's the David Cross to John Lackey's Bob Odenkirk. The story lines don't go anywhere without Orsillo.
And as amazing as the Red Sox' recent run of success is, what's even more amazing is that during that same time Don Orsillo has become a comedic tour de force.
Tuesday, February 02, 2010
Meditations on a Life Spent Slacking

From college until pretty much the time that I got married, I was a slacker. Most of my friends were slackers and most of the pop-culture that I absorbed was from a slacker-based perspective*. I don't think that it was entirely wrong to laze about for a good portion of a decade and a half, because that was essentially who I was. But, I'm not sure it was the absolute best choice that I could have made at the time either. I think that the time period that I slacked through life was the perfect era to be a slacker because it was a bit more culturally tolerated.
* I still am very keen on slacker-based pop culture, which is basically stuff from the mid-90s. For some reason, no other decade really tolerated and celebrated the slacker lifestyle as much as the 90s did. The one thing that I understand is the inherent hypocrisy that permeates from this cultural oeuvre. I intend to get more into this as this Blog rolls along.
Another trait that I have is that I am a chronic second-guesser and overly nostalgic*, so it was really no surprise today that I was thinking back on my slacking days with a degree of warmth and also one of wasted opportunity. This stirring of nostalgia was stirred up primarily because I've been rereading Chuck Klosterman's “Fargo Rock City” which is the perfect combination of who I was when he wrote it (20-something, living on my own) and what he wrote about (a kid who liked metal back in the day).
* First off, every other paragraph in this entry is not going to be referenced and explained by a footnote, but I felt like I had to expand a bit on this statement. When I say that I'm overly nostalgic, I don't mean that I wish that I was not living the life I am presently leading. Far from the truth, considering that I can remember romanticizing about the past during the periods that I am currently romanticizing about.
For example, in high school I would fondly remember the feeling of being sheltered in elementary school, especially when a test or major project was due. Not that I wanted to go back there, but there was a certain feeling of warmth and naivety that I didn't (nor could I ) have while I was a teenager. When I was in college, there were times when I waxed about being in high school. And when I got out of college, I thought that it would be awesome to relive those “carefree” days.
Every time I move on to a new place in life, I look back fondly on the one that just took place. And I am completely aware that what I'm doing is complete bullshit, but it's still something that I do. From the time you're born to the day you die, every person is saddled with problems. Looking back on those problems, they don't seem so bad especially when compared to the problems that you have today. But they were still problems that stressed you out.
ANYWAY, when I think back to the early part of the 90s there was a movement in the culture that needed to be rectified. The 80s excesses—symbolized by Michael Douglas' “Greed is good” phrase from the Oliver Stone movie “Wall Street”—had bled into a new decade. However, all was not right with the country and this line wasn't really holding up any more. There was the Persian Gulf War I, the AIDS epidemic and a recession, suddenly watching metal bands and hip-hop acts live the glamor lifestyle seemed sort of stupid, pointless and most of all it pissed people off. No one had the money to buy Dom Perignon, audacious genie pants and have random sex with models. The pendulum was beginning to swing the other way.
That's when musicians grabbed a t-shirt and flannel, rappers dressed down or were clad in black. There was a general feeling of “fuck it” in the air. Artists wanted to express themselves, but didn't want to entertain. The overall mood was, “If you like it, cool. If you don't, whatever.” And that last word, “whatever” was the generation's overall new philosophy.
You notice that I'm only really focusing on the music because that is usually the harbinger of popular culture. Movies and television don't usually arrive on that cultural wave until later and when they do, that particular wave has crested or is on the verge of breaking. And with movies, it's usually the smaller films that understand the day's fads. Cameron Crowe's “Singles” got the whole grunge-Gen X thing way better than “Reality Bites” ever could. “Reality Bites” seemed to be too calculating and too slick to be taken seriously, it desperately wanted to be “Singles” but fell short. Another example is John Singleton's “Boyz in the Hood” which brought home the plight of the urban 20-something to the masses (read white audience) more than any other black film released after that could.
As 1992 took shape, many of us took the obnoxious clothes that we wearing (the Zubaz or Z. Cavarrici pants) and threw them in the back of the closet and found our worn out jeans, flannel shirts and t-shirts. It was fashionable to look like you didn't give a shit. And for the next four or five years, that's how it stayed.
Ultimately people got bored with being depressed.
Once Bill Clinton was elected president and had enough time to turn the country around and people began to prosper again, did young America's mood change. A lot were sick of dressing like slobs, listening to depressing songs and not having sex. Almost over night, the culture seemed to change and excess was back. P. Diddy and Ma$e were waving their Rolexes from side to side, bands like Kid Rock and Limp Bizkit were trying to rekindle the early 80s debauched styles of Motley Crue and Van Halen. In 1998, journalists were trumpeting that Glam rock was making a comeback (though it ultimately never did, except for Marilyn Manson's “Mechanical Animals” which most of his fans didn't like too much—but is the only Manson CD that I own).
But I was among a group of people that didn't change. I was stuck in my slacker ways and the atrophy was my security blanket. Anything that took an honest-to-God effort was pushed away. At the time I wasn't seriously dating anyone, but I was hooking up when I could. While other, more motivated colleagues were making a killing in the first dot com boom, I was working a 9-5 fund accounting job that I absolutely hated (I spent more time perfecting the art of sleeping at my desk and trying to come up with the layouts of new golf courses than figuring out how to be a better employee). When I did get a job that I liked (reporting) I worked hard, but I wasn't super motivated and the pay sucked.
For recreation, most weekends my friends and I would hit a bar, get shitfaced and come home. Or we'd get a case of beer and watch TV or play Sega Genesis. Even my favorite movies at the time were about unmotivated slackers: “Office Space”, “Swingers”, “Clerks”, “Mallrats”, “Boogie Nights”, “Dazed and Confused” any Tarantino flick. All of these movies were about people who float through life where things happen to them. They're protagonists in the sense that they just happen to be the vessel that encounters the rough seas of life's storm.
And to me, that was a great way to live your life.
I never knew how rudderless my 20s were going to be. When I was younger, I thought that I'd have things all figured out and I would have a pretty good map of where I was heading. I spent a good portion of my 20s half-heartedly trying to find that magical map and I would get frustrated because I never could seem to figure out where it was hidden.
An era of uncertainty is romanticized after much time has passed. When you're young, poor and living this type of life day-to-day, it's not paradise. There were many days I'd bring sandwiches to work that I wouldn't even think about eating now. The cold winter months after I quit my fund accounting job and sat around a quiet apartment with nothing to do but watch “Mannix” reruns and wonder if I'll ever get a job just sucked. But there are times where I look back with fond remembrances of that past.
I shouldn't. I spent an awful lot of time doing nothing and now that I don't have that free time, I wish that I had done things differently.
When I worked at the paper, I was friends with a guy named Tom Abrams who was a few years younger than me. He told me that the summer after he graduated college, he packed up a back pack and bummed around Europe for a few months by himself. I have always wanted to do that, but never had the stones to do so. The summer after I graduated I delivered pizzas and laid around in my parents' swimming pool.
To be honest, it was a great summer as I had a kick-ass tan and had zero responsibilities, but following that summer I wish that I had gone to Europe and had that experience. Even if it was by myself. I wish that I had run with the bulls in Pamplona, seen the Louvre, gone to Amsterdam and Rome and Prague and Athens. It angers me that I spent my time ringing door bells and handing idiots pizzas. I wasted a prime opportunity because I was too lazy or too afraid to do anything.
And I'm not trying to blame the slacker culture for not being a self-starter because that's not my point. There are literally thousands of self-described slackers who have become big stars while it looked like they were sitting around doing nothing. Comedians like David Cross, Patton Oswalt and Brian Posehn or directors like Richard Linklater, Kevin SMith and Quentin Tarantino, writers like Bill Simmons and Chuck Klosterman make it seem like they spent all day on the couch, but they had to be self-motivators to get to where they are. Constant writing and performing, the ability to move from one city to another to get to the level of where they want to be.
They spent a lot of time and hard work to achieve a position where they could spend a lot of time doing nothing. And that's the paradox that I never understood until later in life.
Note: I have no idea where the image I got for this post came from, I did a Google search for "Slackers" and aside from the incredibly late-90s movie, that picture came up.
Friday, October 30, 2009
A Dabbling of David Cross
Last Monday night my friend Jamie and I journey to Wilbur Theater in Boston to do something that I've been wanting to do since 2002: see my favorite comedian David Cross live. Cross has been in two of my favorite shows of all time, as himself in the greatest sketch show of all time: “Mr. Show” and as never nude psychiatrist Dr. Tobias Funke.
I have both of his comedy CDs: “Shut Up You Fucking Baby” and “It's Not Funny” and I pretty much have memorized each of them—especially SUYFB. His take on America post 9/11 was as acerbic and spot-on funny as any that I've heard. Not only has his views on the world entertained me, but it's also helped me look at our planet with a different perspective. This tour was to promote his new book of essays, “I Drink for a Reason”, which I am going to purchase very soon.
Like I said, I've been wanting to see Cross ever since I listened to SUYFB for the first time and I've scanned Pollstar and the Boston Phoenix at least once a week to see if he was playing a show in the Boston area. It wasn't until a few months ago that I found out that he was going to be in Boston. Needless to say, I grabbed those tickets quickly.
The Wilbur Theater is a pretty cool place to see a comedy show as it's an old theater with a palpable sense of history behind it. The seats are old-school straight backed ones that aren't very comfortable, but that's ok it makes the listener all that more alert to check out the act. Also there are two over hanging balconies and two private hanging boxes. Jamie and I were in the third to last row in the second balcony, so we were far away, but it didn't matter the old theater has great acoustics.
Last year, my friend Steve and I saw Stella at the Wilbur Theater (Michael Showalater, Michael Ian Black and David Wain) with Eugen Mirman opening for them. Since Steve grew up with Wain, we got awesome seats. Needless to say, that was amazing experience too.
After a warm-up comedian, Cross came on at 7:25 and performed for about two hours. I would have been happy with an hour of material, but this was a solid set of new bits that stretched on for double my expectations. Was ever joke a hit? Of course not, there were some bombs here and there, but for the most part it was really an awesome show.*
* He also showed a five-minute clip of his show that's going to be aired on the BBC called “The Increasing Poor Decisions of Todd Margaret”. It looks awesome and it sucks that it won't be played in the United States for awhile. The show also had a cameo from Cross' TV brother-in-law GOB Bluth, Will Arnett, which made it even better. **
** What also made the show pretty awesome is that he was taping it for either a DVD release or a Comedy Central or HBO special. I'm not why I find this so great and why I can't wait to buy the DVD, I mean I've already seen about 99% of what I'm going to see again, but for some reason I'm pumped for this to come out.
The one thing that I noticed about Cross is that his fans definitely have a look. Most of them are the true hipsters of the city: black, square rimmed glasses, ironic t-shirts, messed up bed head. And the women are similar too. I'm not saying that it's bad, but I guess that if you were to ask these people why they dress and act the way they do, they'd argue that they do so because they're trying to be different. The one problem is that when gathered together like they were last Monday, their actions of dressing different and being unique turns out to be so similar to each other that it's as if they all went to the same store and bought the exact uniform.
Looking over what I've written so far, it occurs to me that there isn't too much to write about a comedy show except to say whether it was good or not, and that's subjective to a bunch of outside influences: such like I listed above: venue, length of fandom, etc. It's occurred to me it's harder to write a comedy review than it is to write a concert review. A writer can convey the concert experience by listing the songs that were played and how the band sounds, but one can't do that with the comedian. It's hard to describe jokes, and unless the comedian was completely bored (like the time I saw David Spade while in college) there's not really too much to tell.
I'm not going to get the jokes correct and even if I did, Cross doesn't tell jokes per se. They're more wry observations on daily life punctuated with vocal inflections. The humor would get lost in my retelling and will not do any justice to the story. Just take my word for it that he was awesomely funny.
About a week after I saw Cross live I ran across this article. In a few words of summary: basically David Cross told the audience in DC that he and his girlfriend Amber Tamblyn were invited to the White House Correspondent's Dinner. While there, Cross said that he snorted a line of coke within yards of President Obama. He explained that he did this to show his friend that he could be “more outrageous”.
I'm not sure if this story is true, though I'd bet that it is, but if it is I thought that it was pretty lame. It's not the snorting of coke or even doing it in front of Obama, I think what I find most lame about it is that seems like something that Johnny Knoxville and Steve-O would do. And they're morons. “Yeah, I snorted coke right near Obama! Beat that, brah!”
One of the things that appealed to me about Cross is that he isn't an idiot, or if he is, he keeps it private.
The bottom line is this: I'm not going to stop laughing at Cross. But sometimes, I suppose that there is just too much information being passed around.*
* You know what, I don't really know what the point of this last story is. It seems to me that it's about being let down by a celebrity or someone that you admire. The thing is, I don't feel all that let down; Cross has made no secret of his drug use and, really why should I give a shit if he jams heroin needles into his eyeballs. I guess I feel more let down comedy-wise than anything else, the guy has built his standup on subtlety and well-crafted, well-thought out jokes. He shouldn't have to succumb to stupid shock jock crap like this. That's basically what my point is.
Labels:
Arrested Development,
David Cross,
Eugen Mirman,
Mr. Show,
Stella
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